2019 is a phenomenal year for the development of the Malaysian animated film industry as it has successfully produced two superheroes animated films in total. However, the animated film industry in Malaysia is still not competitive at the international level. This can be seen from the 17 animated films that have been produced from 1998 to 2019, only two superheroes animated films managed to get the attention of the audience. This is due to the lack of knowledge of the concept and function of the hero character in animated films. Therefore, the main objective of this paper aims to demonstrate how the Hero’s Journey narrative structure can be applied in BoBoiBoy Movie 2 (2019). This research method involves the use of video analysis tools namely Kinovea and Motion Picture Analysis Worksheet to explain on how the Hero’s Journey of this film conveys the storytelling. The results of this study found that each semicircle Hero’s narrative structure has an important meaning across from one half-circle to the other half-circle. As a result, it explains the concept of peace and chaos as well as stasis and changes in the narrative structure of superhero animated films. This paper will provide information to researchers on the importance and use of the Hero’s Journey approach to analyze superhero animated films.
Tahun 2019 meletakkan Malaysia dalam kegemilangan filem bergenre adiwira. Dua penerbit besar, iaitu Animonsta Studio menghasilkan BoBoiboy Movie 2 dan WAU Animation Studio menghasilkan Ejen Ali The Movie, masing-masing menghasilkan keunikan watak adiwira dan kuasa mereka tersendiri. Namun begitu, industri filem animasi daripada genre adiwira masih berada di tahap yang tidak mampu berdaya saing. Hal ini dapat dilihat daripada 17 buah filem animasi yang dihasilkan daripada tahun 1998 tahun sehingga tahun 2019, hanya empat sahaja filem adiwira berjaya mendapat perhatian penonton. Animasi merupakan medium emosi, namun pemfokusan ke arah visual dalam reka bentuk watak dan naratif penceritaan sahaja tidak memadai. Sebaliknya, sebuah penceritaan mengajak audiens untuk masuk ke dalam posisi adiwira dan melihat dunia mereka melalui visual penonton. Oleh itu, objektif utama penulisan ini bertujuan menganalisis fasa perubahan arka watak adiwira Boboiboy dalam filem animasi BoBoiBoy Movie 2 (2019). Reka bentuk kajian ini merupakan kualitatif berbentuk analisis deskriptif dan menggunakan model The Character Arc yang diperkenalkan oleh Vogler (2007) menerusi bukunya bertajuk, The Writer's Journey. Kajian ini mendapati fasa perubahan watak adiwira Boboiboy dapat dilihat menerusi tindakan dan penampilannya. Perubahan ini dipengaruhi daripada dua dunia yang berbeza, iaitu dunia biasa dan dunia khas. Boboiboy menjalani 12 fasa konflik dalaman yang berbeza sehingga mencapai kejayaan dan memperoleh kuasa luar biasa untuk dikongsi sebagai rahmat bersama. Diharapkan dapatan analisis ini dapat dijadikan kayu ukur dalam aspek perkembangan watak dan perwatakan, sekali gus memberangsangkan lagi minat audiens. The year 2019 marks the heyday of superhero films in Malaysia. BoBoiboy Movie 2 was produced by Animonsta studio, and Agent Ali The Movie was produced by WAU Animation studio, with each producing their own unique superhero characters and powers. Nonetheless, the animated film industry in the superhero genre remains uncompetitive. As shown by the 17 animated films made between 1998 and 2019, only four superhero films captured the public imagination. Although animation is an emotional medium, focusing solely on the visuals in character design and storytelling narrative is insufficient. Instead, a narrative invites the audience to put themselves in the place of superheroes and experience their world through the audience’s eyes. As a result, the main objective of this article is to examine the arc of the superhero character Boboiboy in the animated film BoBoiBoiBoy Movie 2 (2019). This study’s design is qualitative in the form of descriptive analysis, and it employs the model of The Character Arc introduced by Christopher Vogler (2007) in his book The Writer’s Journey. This research shows that the character of the superhero Boboiboy’s phase of change can be seen through his actions and appearance. These transitions are shaped by two distinct worlds, the ordinary and the extraordinary. Boboiboy goes through 12 stages of internal conflict before achieving success and gaining extraordinary powers to share as a collective privilege. It is hoped that the results of this study will be used as a benchmark for character growth and characterization while also stimulating the audience’s interest.
ABSTRAK Penulisan Artikel ini bertujuan menganalisis fungsi imej haiwan dalam menghubungkaitkan isu-isu semasa melalui kartun lerang Langkawit. Skop kajian dihadkan kepada empat karya terpilih imej haiwan dalam kartun lerang mengikut tema. Kajian ini menggunakan pendekatan Erwin Panofsky (1955) dalam memahami lapisan makna karya kartun lerang oleh Langkawit, sekali gus mencapai objektif kajian. Maklumat berkaitan hasil daripada koleksi kartun Langkawit didapati melalui pengumpulan data primer dan sekunder menerusi Kadazandusun Language Foudation (KLF), bahan bercetak seperti rujukan perpustakaan dan Arkib Negeri Sabah. Hasil kajian ini mendapati bahawa imej haiwan dalam kartun lerang Langkawit mempunyai simbolik yang berfungsi untuk memberi gambaran atau kritikan tentang nilai-nilai sosiobudaya, pendidikan, alam dan politik. Saluran imej haiwan karya Langkawit ini juga menjadi alat kiasan dan komunikasi yang berfungsi menilai sesuatu isu, di samping menjadi senjata teguran khususnya di Sabah. ABSTRACT This paper aims to analyze the function of animal images in linking current issues through Langkawit’s strip cartoons. The scope of the study is limited to four selected works of animal images in the cartoon by theme. This study adopts the approach of Erwin Panofsky (1955) in understanding the layers of the illustration of the cartoon by Langkawit as well as achieving the objective of the study. The information related to the Langkawit cartoon collection was obtained through primary and secondary data collection through Kadazandusun Language Foundation (KLF), printed materials such as library references and Sabah State Archives. The research findings demontrate that animal images in Langkawit’s strip cartoons convey some elements of symbolism, functioning to illustrate or criticize sociocultural values, education, nature, and politics. Langkawit’s animal images also serve as a communication and metaphorical tools that function to assess certain issues as well as a reprimand weapon, especially in Sabah.
ABSTRAK Abu gerlis tidak pernah diaplikasikan di Sabah sebagai gerlis komersial. Pengusaha seramik tempatan khususnya di Kota Belud dan Semporna belum menemui kaedah memprosesnya kerana mereka tidak terdedah dengan pengetahuan menggunakan formula menghasilkan gerlis. Kajian ini bertujuan untuk mengenal pasti, mendokumentasikan dan menganalisis bahan alam yang dapat menghasilkan gerlis. Kaedah yang digunakan oleh pengkaji adalah kaedah kualitatif dan menjalankan aktiviti uji kaji bengkel di studio seramik, Universiti Malaysia Sabah. Formula yang digunakan adalah formulasi line blend oleh Michael Cerv (2016). Formula line blend adalah pendekatan yang mengaplikasikan gabungan satu atau dua bahan semula jadi untuk mendapatkan kesan satin dan matt. Sebanyak enam sampel kajian dijalankan di studio dengan memperkenalkan teknik gabungan tanah kaolin dan abu kayu yang berbeza nisbahnya. Hasil kajian mendapati keenam-enam sampel menunjukkan kesan yang berbeza dari segi permukaan dan warna gerlis. Kajian ini adalah satu indikator yang mudah digunakan untuk menghasilkan gerlis. Secara tidak langsung, kaedah ini memberi sumbangan kepada pengusaha seramik di Kota Belud dan Semporna dalam menghasilkan kraf seramik yang lebih berkualiti. ABSTRACT Ash glaze is not used in Sabah as a commercial glaze. Local ceramics, especially in Kota Belud and Semporna, do not know in processing and lack knowledge in the use of the formula needed in producing glaze. The purpose of this study is to identify, documentation and analyze natural materials that can produce a glaze. The method used by the researcher is a qualitative method and conducting workshop experimental activities at ceramic workshops, University Malaysia Sabah. The formula used in this research is a line blend formula by Michael Cerv (2016). This line blend formula is a combination of one and two materials to get a satin and matt effect. The researcher produced six samples using one technique in this study. The researcher found that through this study, the six samples showed shiny and flat surface. This study can provide an easy way especially the ceramic entrepreneurs in Kota Belud and Semporna to produce more quality ceramic crafts.
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