AMIR MUHAMMAD: DIREKTOR DOKUMENTARI TERAKHIR?
11 JUNE 2006, Sunday
3.30 pm
Auditorium, Selangor Chinese Assembly Hall (1st Floor)
1 Jalan Maharajalela, Kuala Lumpur.
Amir Muhammad, a critically acclaimed Malaysian director, writer and
producer, recently courted controversy over his latest film, "Lelaki
Komunis Terakhir" (The Last Communist), which resulted in the
film banning by the Minister for Home Affairs.
Strategic Information and Research Development Centre (SIRD) is
pleased to have Amir share his thoughts and experiences on the making
and subsequent banning of his film.
Amir is a writer and independent filmmaker based in Kuala Lumpur. He
has been writing for the Malaysian print media since the age of 14.
In 2000 he wrote and directed Malaysia's first DV feature, and his
works have been featured in many international film festivals
including Sundance and Berlin. He has also helped produce several
other Malaysian DV movies.
The official T-Shirts of "Lelaki Komunis Terakhir" will be
launched at the talk. Get them before they're banned.
NB. Seats are limited and reservations must be made in advance.
Please make your reservations via phone during office hours
(03-79578342) or email to <sird@...>
----- End forwarded message -----
http://nizamzakaria.blogspot.com
----------------------------------------------------------------
This e-mail has been sent via JARING webmail at http://www.jaring.my
Date: Mon, 29 May 2006 14:23:45 +0800 From: "scream" <scream@...> To: <scream@...> Subject: A film for Jogja (Outphace Update - 29 May 2006)
Howdy folks!
In view of the recent earthquake tragedy in Indonesia, I was told by the two big hochos at Outphace, Apan & Zan, not to make any stupid jokes today. As we all know, Zan recently completed a documentary called 'Searching for Sheila' which was shot in Jogjakarta, one of the hardest hit areas of the quake.
Here's the synopsis: "When the filmmakers went to Jogjakarta in Indonesia, they were hoping to find the popular Indon rock band 'Sheila on 7'. They searched high and low throughout the city..."
Today, Outphace (http://www.outphace.com) releases Zan's
documentary for free download in dedication to the people of Jogjakarta. One can only imagine how their lives have changed compared to when the documentary was shot last December.
Date: Mon, 29 May 2006 14:23:45 +0800 From: "scream" <scream@...> To: <scream@...> Subject: A film for Jogja (Outphace Update - 29 May 2006)
Howdy folks!
In view of the recent earthquake tragedy in Indonesia, I was told by the two big hochos at Outphace, Apan & Zan, not to make any stupid jokes today. As we all know, Zan recently completed a documentary called 'Searching for Sheila' which was shot in Jogjakarta, one of the hardest hit areas of the quake.
Here's the synopsis: "When the filmmakers went to Jogjakarta in Indonesia, they were hoping to find the popular Indon rock band 'Sheila on 7'. They searched high and low throughout the city..."
Today, Outphace (http://www.outphace.com) releases Zan's
documentary for free download in dedication to the people of Jogjakarta. One can only imagine how their lives have changed compared to when the documentary was shot last December.
ia adalah rancangan magazine utk RTM 13 episod...so saya nak tahu costing dari start pre.pro termasuk bayar karyawan(director,crew dll) sampai habis post production...klu bleh u break down kat i dlm bentuk format...apa company u keje?
ZulAzman Zaki Zainul <xenomorph1978@...> wrote:
saya bekerja di sebuah syarikat post production di Petaling Jaya. Jikalau you hendakkan quotation untuk post (kalau nak production cost sekali pun boleh), sila emailkan kepada saya 'brief' mengenai program ni.
alberto md top <castelor19@...> wrote:
asalamualaikum........boleh tak saya nak tahu pasal costing dan format utk buat rancangan dokomentari &magazine....sesiapa yang
ada format tu bleh tak past kan pada saya....utk 13 episod.
Norlia Hj Bujang <normaniza76@...> wrote:
walakumsalam..
betul jugak apa yang di katakan oleh Encik murali..(dah lama tak wat drama?..hihhii) bukan tak ada yang mampu buat skrip2 drama atau filem dengan lebih baik..cuma ada berapa faktor yang mungkin menghalang penulis2 skrip untuk menghasilkan idea2 baru..cerita2 yang lebih segar..kene faham2 la..ramai yang sekrang dok puji filem2 dari indonesia kerana jalan cerita atau skrip mereka yang lebih terbuka..tak nak terikat pada satu konsep aje..kalau nak buat cerita cinta..memang buat betul2 cerita cinta..kalau nak buat cerita seram..kene buat betul2 seram macam filem jepun atau korea..tapi rasanya filem2 dari aflin shauki, suhaimi baba tidak kurang hebatnya..skrip filem mereka cukup bagus. Saya
rasa kalau kreativiti penulis2 skrip drama dan filem tidak di sekat atau di kekang..rasanya mereka mampu melakukannya..suke filem melayu..dan akan tetap sokong filem melayu..nak tunggu filem 'cicak man'...
Murali abdullah <murabd@...> wrote:
assalamualikum,
Saya tidak menafikan bahawa skrip-skrip sekarang tak berepa menarik..Ini kerena faktor utama ialah permintaan.TV station dan lpf di malaysia meletakkan perbagai syarat-syarat,undang-undang yang menutup kreativiti2 penulis skrip.Bagitu juga dgn producer-producer film yang tidak mahu belanja lebih,jadi mereka minta penulis skrip, kurangkan watak-watak,lokasi-lokasi,props dan play safe di mana tv staion akan beli..kalau nak ubah,buat usulan kepada tv steysen dan juga pada lpf.ok... --- annoycutie14 <annoycutie14@...>
wrote:
> Assalamualaikum dan salam > sejahtera...ehaks..ter'formal'plak > nway,apa pendapat korang tentang skrip flm n drm di > malaysia? > sorry lah kalau topik ni dah ada sbb aku ni ahli > baru kan...dok tahu > aku terfikir juga kenapa penulis di ms ni semua > tulis cinta je...mana > sci-fi,mystery,fantasi,psikologi,thriller,action,keagamaan,dan > byk > lagi genre. > kebanyakan genre ni semua x tersentuh pun...walaupun > kadang2 keagamaan > dan mystery ada..tapi jalan cerita boring n hanya > sekadar suam-suam > kuku je diaorang buat. > Pada pendapat aku,kbnyakan penulis ni minda nya > masih di takuk lama n > mereka tak byk terdedah pada 'dunia'...sme nak > fantasi sendiri anggap > dunia ni perfect ikut suka dia jer...aku rasa mereka > ni mungkin kurang > baca novel2 bagus kot..asyik nak baca URTV jer... > Sama macam
novel lah..sme nak cinta jer. > So pada pendapat korang,apa yang boleh dibuat supaya > penulis skrip > kita jd lebih kreatif lagi? > pertandingan? biasiswa pergi belajar luar > negara?...?? > > > > > > > > >
__________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
Our screening of Sunset
Boulevard (Billy Wilder; 1950) on Mon 15 May was a real eye-opener
for our audience: a Hollywood film that satirises Tinseltown in the darkest
of moods, yet had enough drama and emotion to keep them transfixed, boasting
a solid script and spot-on direction. They don't make films like that anymore. Watch out for more Hollywood
classics from us.
Meantime, our next offering
on Mon 29 May is another special movie experience, starring the evergreen
Catherine Deneuve, who is surely one of the most beautiful women ever to
grace the silver screen --
THE UMBRELLAS OF CHERBOURG
(Jacques Demy; France, 1964, 91 min) Venue: HELP Univ College,
Pusat Bandar Damansara Date & time: Mon
29 May, 8.00pm Membership available
at the door: RM60 (students RM30) / RM40 / RM30 Free admission for Alliance
Francaise members and students of HELP Enquiries: 012-2255136
Notes The Umbrellas of Cherbourg,
amongst other things, helped catapult Catherine Deneuve to stardom. In
filming The Umbrellas of Cherbourg, director Demy opted to sacrifice
print longevity for vibrant colour. The stock he used yielded brilliant
hues, but degraded quickly. By the mid-seventies, the only remaining copies
of the film were in terrible condition. But Demy, anticipating this problem
from the outset, had archived multiple monochromatic negatives that, when
properly combined with each other, allowed re-creation of the original
colour. With Demy's widow, Agnes Varda, supervising the re-mastering, The
Umbrellas of Cherbourg was brought back to life, and can now be seen
in its original splendour. As a musical, The
Umbrellas of Cherbourg is unusual in several ways. First, unlike most
big American productions of the time, there are no show-stopping production
numbers. There's no dancing, no chorus, and no duets. Secondly, there are
no spoken lines of dialogue -- everything, from the mundane to the important,
is sung. Finally, The Umbrellas of Cherbourg isn't a lightweight
bon-bon with a happily-ever-after ending. While the film has its share
of effervescent moments, there's also an element of undeniable poignancy.
Demy has used the musical to explore several universal themes, particularly
the meaning and nature of different kinds of love. Although most movies
favour passion and true love, The Umbrellas of Cherbourg shows that
another less demanding, more subtle
kind of love has its own appeal. Watching it, it's not
hard to understand why Deneuve became such an icon. Not only is she beautiful,
but she possesses that elusive characteristic known simply as "star quality".
She's the perfect lead for this film, which demands an actress possessing
legitimate range. Born Catherine Dorléac,
she made her movie debut in the 1956 film Les Collegiennes, when
she was still a teenager (her elder sister, Françoise Dorléac,
1942-1967, was a popular actress before dying in a car crash). Umbrellas
was her breakthrough role, launching her career as an actress. Today, Catherine
is France's most iconic actress. Besides acting in films, she is also active
in theatre, acting in various French plays in Paris and New York.
Date: Mon, 22 May 2006 17:09:04 +0800 From: "scream" <scream@...> To: <scream@...> Subject: Zan's latest documentary (Outphace Update - 22 May 2006)
Dear all,
The prolific Zan Azlee will be releasing his latest short documentary entitled 'Searching for Sheila' on Outphace.com (http://www.outphace.com) very very very soon!! He went all the way to Jogjakarta in Indonesia with Apan hoping to find some adventure. Instead they found each other! Boy were their girlfriends mad!
Before the release of the whole film... feast your eyes on the trailer of 'Searching for Sheila' at Outphace.com (http://www.outphace.com) today!
NOT PROFOUND, JUST WAITING TO BE FOUND: THE SHORTS OF
AARON CHUNG by Hassan Abd. Muthalib
‘………saying you don’t like violence in movies is like
saying you don’t like tap-dancing sequences in movies;
it’s just one of the many things you can do in
movies. And it’s a very cinematic thing.’ - Quentin
Tarantino
YOU don’t have to sit through a two-hour
blood-and-gore Hollywood movie to experience an
adrenalin rush. Aaron Chung will do that to you in
just a few minutes! And he does not need to take you
into dark alleyways or eerie graveyards. He does it
all in the most commonest of places – inside the home!
A Distinctive Style
So far Aaaron Chung has done only four short films but
he is a filmmaker to watch. With his very first short,
‘Working Sunday,’ a student project while studying
film at the Akademi Filem Malaysia, he has shown a
distinct trademark style, and has continued to develop
it in his next three shorts: ‘Crook, Wicked’ and
‘Shoot the Malaysian.’ With the deftness of Jarmusch
and the brashness of Tarantino, he grabs you by the
collar, punches you in the jaw, and before you know
it, you’re sitting in the gutter, wondering what hit
you! His script is minimalist, focused and totally
linear; shots are carefully composed and there is
minimum camera movement; acting appears spontaneous
but is dramatic. And his editing style would put
mainstream editors to shame.
Fully in control of the grammar and language of film,
he communicates and connects with his audience. Aaron
eschews slow motion effects or speeded up scenes and
deliberately refrains from doing so. The purity of the
filmed image is what he respects and strives for. He
is firmly grounded in genre. ‘Crook’ and ‘Wicked’ are
treated like horror films - Crook in classic Gothic
horror and ‘Wicked,’ splatter horror. His shots are
exceedingly common: close-ups, over-shoulder shots,
mostly eye-level set-ups, avoiding impossible
point-of-view shot. Aaron’s shots are minimal. Before
he cuts, he introduces the next element within the
shot. He wastes no screen time or space. His editing
compresses time but it feels like that it is all
happening in real time with an unseen rhythm and
pacing building up to the shock climax.
Not for Aaron the long, languishing take or the blank
look into space; no metaphors, subtext or
philosophical concepts; no narrative discontinuity,
temporal or spatial fragmentation. He is a man in a
hurry. He just wants to show something and then move
on. He is not out to make films that are profound. His
films are waiting to be found (to quote Ho Yuhang).
Aaron’s world is a cinematic representation of
contemporary Malaysian life – and youth. He does not
say that the world is mad or that it is unjust. He
just shows it for what it is.
Aaron’s ‘Crook’
In his director’s statement, Aaron says that Crook was
inspired by an actual event, which happened to him at
his brother's apartment. It was around the time he had
to produce a short video as semester requirements, and
he basically built up on the incident to create
something theatrical by the use of dramatic lighting,
with scenes from Wrestlemania X7 (he’s a pro-wrestling
fan), with flesh-ripping, etc.
In Crook, a man appears at the door of a terrace house
one dark night. A sweet young thing opens the door.
The man hands out pamphlets related to a campaign
about cruelty to chickens (!). But seeing that there’s
no one else in the house, he decides to leave. It
looks innocent enough even though the bluish lighting
on him is an index that something is not right.
However, that index is a red herring. He is not the
‘crook’ of the title (as we will find out later). He
asks for a drink from the girl, who obliges. A couple
of tight shots below eye level of her preparing a
glass of water are visual cues for what is to follow.
While she’s in the kitchen, the man quickly enters the
living room and steals some valuables. He falls in a
faint after drinking what the girl has prepared. The
girl goes into the house, picks up a steel chair. And
in a very creative manner, Aaron shows what the girl
is going to do with the chair. The camera moves and
dwells on the TV set where a wrestling match is in
progress. One of the wrestlers lies on the ground
while his opponent slams him repeatedly with a steel
chair. We are now outside again. The girl stands over
the man, holding the chair – and we are in no doubt as
to what she has done with it! She collects all the
things he has stolen. The fence behind her has clear
Gothic elements and a low angle tight on her shows her
exactly like the crook earlier. She even pulls off the
ring stuck to his forehead and the audience lets out a
perceptible ouch! The last shot is a repeat of the
first shot. The girl drags him outside the confines of
the house and leaves him lying on the ground. She
calmly takes up the chair and goes back into the
house. A song come on, appropriately, ‘You’re Gonna
Pay: The Undertaker’s Theme’ by Jim Johnson.
All the conventions of the classic Gothic horror
genre are there – low angles (where appropriate), and
Dutch tilts (as signifiers), bluish lighting for
exteriors not only to denote night but also as an
index, The first shot establishes the house in bluish
light and on a low angle, clearly warning the unwary
stranger to enter at his peril - but the gate at the
door is open as if inviting one to enter! The interior
shot immediately following the crook at the door is
empty, another negative index. Only the loud,
non-diegetic sound of the wrestling match on TV is
heard. The girl utters no word to his questions and is
perfectly calm. And why should she not be? The fly is
about to walk into the parlour! The girl is never
shown preparing the drink – only her hand is seen in a
close up, with a low angle on the glass strongly
reflecting light with diagonal lines ominously on the
ceiling. As the crook leaves, there is a cut to the
girl. Her face now has some bluish light on it. She
has a Dracula-like expression on her face, a predator
waiting for the inevitable to happen. The sliver of
light that was on the crook’s face is now on her.
Aaron’s ‘Wicked’
Aaron says that with ‘Wicked,’ he wanted to push the
envelope further following the success he had with
‘Crook.’ Wanting to create something of a follow-up
without actually making a sequel, it needed to be
independent enough to stand on its own. He wanted to
create the same overall feeling and mood that he had
with Crook but slightly turning it around. ‘Crook’
began with the stranger coming to the house where the
occupant is already present, and ends with him being
dragged outside the compound. ‘Wicked’ begins with the
stranger already inside the house (the same one used
in ‘Crook’), and the occupant entering it from
outside. As opposed to ‘Crook’s Gothic horror
treatment, ‘Wicked’ is in the splatter horror genre,
replete with blood and gore.
The film begins with a conventional shot of the front
door but seen from inside, making it a point-of-view
shot – but of whose? Wait for it. We hear sounds of a
cartoon TV show. A pretty girl (the occupant), appears
at the door, attracted by the sounds. She watches from
the door, fascinated. Her face is in slight shadow
with a sliver of light on the side of her face. A
crucifix with the effigy of the Christ is prominently
behind her, a rosary dangling from it. The sequence on
TV shows a beaver involved in an accident and having
its eyeball dangling out of its socket – an indication
of what is to follow with the human characters. A
woodpecker pecks at the eyeball, resulting in the
beaver falling out of the tree. Its bloodied lungs and
the other eye are pulled out and now dangle out of its
body. The girl grimaces and turns the TV off. She
turns, looks at the rosary dangling on the crucifix.
She looks up. A man is stands over her with a knife in
his hand. Quick as a wink, she grabs the rosary and
sticks it in his right eye. He reacts but it is too
late. The key is embedded in his eye. He screams but
no sound emerges.
The girl’s face is now in reddish light. She punches
him. His eyeball pops out, and dangles at the end of
the rosary – in a surreal ‘Salvador Dali angle’ from
the point-of-view of the fallen man. The girl picks up
her stiletto shoe and proceeds to hit his other eye
with the point and then struggles to extricate the
shoe. She flings the bloodied shoe away. It hits a
chair (the same one used in ‘Crook’) and lands on the
floor, a bloody mess. She drags him outside and starts
digging in the garden (all seen from inside the
house). She exits right. The bloodied eyeball on the
key falls onto the floor as a finale.
As Bunuel shocked us with the slicing of the eyeball
in his ‘Un Chien Andalou,’ Aaron shocks us with the
eyeball being violently stuck with the rosary and
stiletto. Bunuel remarks that a film’s object is to
“provoke instinctive reactions of revulsion and
attraction in the spectator.” Aaron does that
remarkably well. The sequence of the eye-piercing with
the rosary is a piece-de-resistance of editing. As in
‘Crook,’ Aaron wastes no time and goes for the jugular
(pun intended!). The scene is revolting but at the
same time, humourous. Utilizing irony, Aaron critiques
the commodification of our culture. ‘Art’ has
transgressed its boundaries, stepping over into real
life. Humans have taken on the roles of characters as
in a post-modern text. Young men are killers and
crooks and girls are no longer sweet young things.
Chairs, rosaries and shoes become deadly weapons. The
home is no longer the safe place it once was – not for
the occupant but for the transgressor! Aaron insists
upon the audience’s active participation in various
levels of interpellation.
Aaron says that he does not have a style, a way of
thinking about what he’s going to do. He does plan
using storyboards but panels are sometimes left
undrawn with a few words written to give an indication
of what he wants. It is only when he arrives at the
location and sees the props does he knows how it’s all
going to come together. He could have fooled me!
Aaron’s ‘Shoot the Malaysian’
Which country would you prefer to live in – Malaysia
or Singapore? What’s the difference between a
Malaysian and Singaporean? Aaron does a take on the
strict laws of Singapore in a film that was one of six
projects commissioned by The Substation Singapore for
the Malaysia-Singapore Film Exchange Project 2004 as
part of their annual Asian Film Symposium (another
well-made film is Khoo Eng Yow’s ‘Job Interview,’ shot
in Singapore also under the Project, which critiques
Singapore’s clean and squeaky image).
Half-documentary, half-narrative, the film seeks the
opinions of locals and foreigners about both
countries. A newspaper report speaks of a ‘Shoot the
Malaysian Campaign’ whereby Premier Lee has given
orders to shoot any Malaysian who breaks the laws of
Singapore. Aaron plays himself as the Malaysian who is
on a visit to Singapore. Every time he breaks one of
the laws, a shot comes from nowhere and ‘kills’ him: -
when he washes his hands at a fountain, chews gum,
queue jumps, and has his mobile phone on in church.
Aaron has remarked that the presentation style of the
film was inspired by the sort of comedy skits he saw
on ‘The Late Show with David Letterman.’ I think the
humour is reminiscent of the style of Mr Bean, but
Aaron has made it political. While the situations set
up for Mr. Bean in the TV series are highly unlikely
to happen in real life, Aaron goes a step further by
wryly asking, what if?
What is interesting is Aaron’s use of visual cues
scattered throughout the film which are like
punctuation marks as if making statements as to why
Singapore is what it is. The name Singapore comes from
the Sanskrit: ‘Singa’ – lion; ‘pura’ – city. The shot
of the question by a foreigner: ‘What’s the difference
between a Singaporean and a Malaysian’ is immediately
followed by an image of a lion on a banner (as if in
answer). The lion is king of the jungle and brooks no
insubordination! The ‘presence’ of the lion is seen
all over the film in the form of the well-known statue
spouting water; another stands guard by the side of a
road. The lion continues to exert its power through
various signage, among them: ‘In Queue by Law.’ Obey
or else – as Aaron (the character) finds to his
detriment.
The interviews in the film of both locals and
foreigners are pro and contra for both countries but
it is not difficult to see on whose side Aaron (the
filmmaker) is on.
This is clearly seen in the final sequence. The camera
holds on to a church roof with a cross. There is the
non-diegetic sound of the choir singing – a negative
index. The scene cuts to a long take of a crucifix
with the image of the Christ in Gothic lighting (a
signifier of the fate of Singaporeans, perhaps?). We
continue hearing the choir. A mobile phone rings,
gunshots ring out. Cut to the exterior of the church.
A big Samsung sign is in the background, a garish
contrast (another signifier?), to the sedate church
with its tall columns. Aaron rolls down the steps of
the church. Again there is the sound of the mobile
phone ringing. Aaron tries to get up. The mobile phone
is thrown out and hits him. There is another shot and
he falls over, this time ‘permanently dead.’ ‘Love thy
enemy’ has gone out of the window! (or literally out
of the church door). Another one of Aaron’s
hit-‘em-in-the-guts post-modern texts!
Conclusion
Aaron is an unambiguous filmmaker. He plays with
iconic characters and situations, making understanding
easy. It is a postmodern scenario that he presents but
I suspect it is also a reaction to the existing
scenario regarding the Little Cinema of Malaysia (the
DV filmmakers), of whom the majority tend to be
‘inscrutable’ with their works. Aaron films are proof
that a simple, straight narrative is possible.
Everyday things can take on unexpected turns. He
presents them as spectacles, ironically parodying the
carnage usually seen in the Hollywood gangster film.
His references to TV culture - wrestling and cartoons
– show that beneath the violence lie powerful fields
of signification, especially in the playfulness and
apparent innocence of cartoons.
Aaron is a filmmaker who obviously prefers to see
himself as an adventurer and an action artist. But he
is more than that. He is a filmmaker who thinks in
cinematic terms – and he is one to watch.
April 2006.
This article appears in the CRITICINE Southeast Asian
Cinema website based in Manila.
__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
sememangnya saya sokong dgn beberapa pendapat tentang skrip yang diketengahkan sekarang ni. Apalagi sdra Murali sebutkan produser yang terlalu nak berjimat.. cukup saya setuju..
sepatutnya dalam menghasilkan karya yang memenuhi permintaan, mana-mana produser sepatutnya menilai sejauh mana produknya boleh diketengahkan dan jangan lokek, bila dah yakin, serahkan pada pengarah untuk applikasikan segala yang perlu demi menjamin produk akhir nanti.
dengan karya skrip, ilham pengarah akan dijana, kuasa RM produser akan menyokong, rasanya barulah hasilnya boleh dipertaruhkan..untung rugi adat perniagaan, sekali rugi tak bererti akan terus rugi kan..dare to fail..
alberto md top <castelor19@...> wrote:
asalamualaikum........boleh tak saya nak tahu pasal costing dan format utk buat
rancangan dokomentari &magazine....sesiapa yang ada format tu bleh tak past kan pada saya....utk 13 episod.
Norlia Hj Bujang <normaniza76@...> wrote:
walakumsalam..
betul jugak apa yang di katakan oleh Encik murali..(dah lama tak wat drama?..hihhii) bukan tak ada yang mampu buat skrip2 drama atau filem dengan lebih baik..cuma ada berapa faktor yang mungkin menghalang penulis2 skrip untuk menghasilkan idea2 baru..cerita2 yang lebih segar..kene faham2 la..ramai yang sekrang dok puji filem2 dari indonesia kerana jalan cerita atau skrip mereka yang lebih terbuka..tak nak terikat pada satu konsep aje..kalau nak buat cerita cinta..memang buat betul2 cerita cinta..kalau nak buat cerita seram..kene buat betul2 seram macam filem jepun atau korea..tapi rasanya filem2 dari aflin shauki, suhaimi baba tidak
kurang hebatnya..skrip filem mereka cukup bagus. Saya rasa kalau kreativiti penulis2 skrip drama dan filem tidak di sekat atau di kekang..rasanya mereka mampu melakukannya..suke filem melayu..dan akan tetap sokong filem melayu..nak tunggu filem 'cicak man'...
Murali abdullah <murabd@...> wrote:
assalamualikum,
Saya tidak menafikan bahawa skrip-skrip sekarang tak berepa menarik..Ini kerena faktor utama ialah permintaan.TV station dan lpf di malaysia meletakkan perbagai syarat-syarat,undang-undang yang menutup kreativiti2 penulis skrip.Bagitu juga dgn producer-producer film yang tidak mahu belanja lebih,jadi mereka minta penulis skrip, kurangkan watak-watak,lokasi-lokasi,props dan play safe di mana tv staion akan beli..kalau nak ubah,buat usulan kepada tv steysen dan juga pada lpf.ok... ---
annoycutie14 <annoycutie14@...> wrote:
> Assalamualaikum dan salam > sejahtera...ehaks..ter'formal'plak > nway,apa pendapat korang tentang skrip flm n drm di > malaysia? > sorry lah kalau topik ni dah ada sbb aku ni ahli > baru kan...dok tahu > aku terfikir juga kenapa penulis di ms ni semua > tulis cinta je...mana > sci-fi,mystery,fantasi,psikologi,thriller,action,keagamaan,dan > byk > lagi genre. > kebanyakan genre ni semua x tersentuh pun...walaupun > kadang2 keagamaan > dan mystery ada..tapi jalan cerita boring n hanya > sekadar suam-suam > kuku je diaorang buat. > Pada pendapat aku,kbnyakan penulis ni minda nya > masih di takuk lama n > mereka tak byk terdedah pada 'dunia'...sme nak > fantasi sendiri anggap > dunia ni perfect ikut suka dia jer...aku rasa mereka > ni mungkin kurang > baca novel2 bagus
kot..asyik nak baca URTV jer... > Sama macam novel lah..sme nak cinta jer. > So pada pendapat korang,apa yang boleh dibuat supaya > penulis skrip > kita jd lebih kreatif lagi? > pertandingan? biasiswa pergi belajar luar > negara?...?? > > > > > > > > >
__________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
Pagi ni dalam Selamat pagi Malaysia, ada promote sitcom terbaru utk
rtm. Kenapa ye bila artis yang bukan appearance asalnya pelakon
komedi, membawa watak komedi, ianya nampak over dan macamm sengaja nak
paksa orang gelak. Padahal ia sepatutnya kelainan yang patut
dibanggakan. Mungkinkah puncanya skrip , pengarah atau nak
memenuhi kehendak penonton? Rasanya kalau macam tu, baik je ambik real
comedian, taklah rasa nak dipaksa gelak. Ada skrip yang menguatkan
jalan cerita komedi dengan garapan istimewa pengarah, jadi menarik dan
terhibur bila ditonton, tapi apa pulak jadinya dengan sitcom-sitcom
rtm ?
abuhassanhasbullah <abuhassanhasbullah@...> wrote:
"Pramoedya Ananta Toer bukanlah orang asing buat
bangsa Malaysia kerana
sekian lama karya beliau KELUARGA GERILYA menjadi teks
kpd para pelejar di peringkat HSC & STP di negara ini.
Kehidupan revolusi manusia-manusia yg diangkat dlm
karya ini bukan sedikit meninggalkan semangat dlm akal
rasa & akal fikir bangsa di rantau ini."(muring-wien,
2006)
Seperti yg diberitakan pengarang besar Nusantara ini
telah kembali ke
negeri mati (Al Fatihah!). Sebagai asa meneruskan
kesegaran hidup yg dibawa dlm karya-karya beliau maka;
Jurusan Filem & Penyiaran, Jabatan Pengajian Media,
Universiti Malaya
gan kerjasama BUKUONLINE.ORG (http://bukuonline.org) &
YAYASAN PEMBANGUNAN BUKU NEGARA (YPBN) akan
menganjurkan forum;
‘SANG GERILYA PRAMOEDYA’ 21.05.2006 (AHAD), AUDITORIUM
SASTERA,
BANGUNAN BARU FAKULTI SASTERA & SAINS SOSIAL. 9 - 12
TENGAHARI
Pengerusi: PROF EMERITUS ABU BAKAR HAMID
PEMBENTANG: SASTERAWAN NEGARA DATUK A SAMAD SAID, DR
TALIB SAMAT (UPSI), AZMAN ISMAIL (UTUSAN MALAYSIA,
PENGKAJI PRAMOEDYA).
Semua dijemput hadir. MASUK ADALAH PERCUMA
__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
saya bekerja di sebuah syarikat post production di Petaling Jaya. Jikalau you hendakkan quotation untuk post (kalau nak production cost sekali pun boleh), sila emailkan kepada saya 'brief' mengenai program ni.
alberto md top <castelor19@...> wrote:
asalamualaikum........boleh tak saya nak tahu pasal costing dan format utk buat rancangan dokomentari &magazine....sesiapa yang ada format tu bleh tak past kan pada saya....utk 13 episod.
Norlia Hj Bujang <normaniza76@...> wrote:
walakumsalam..
betul jugak apa yang di katakan oleh Encik murali..(dah lama tak wat drama?..hihhii) bukan tak ada yang mampu buat skrip2 drama
atau filem dengan lebih baik..cuma ada berapa faktor yang mungkin menghalang penulis2 skrip untuk menghasilkan idea2 baru..cerita2 yang lebih segar..kene faham2 la..ramai yang sekrang dok puji filem2 dari indonesia kerana jalan cerita atau skrip mereka yang lebih terbuka..tak nak terikat pada satu konsep aje..kalau nak buat cerita cinta..memang buat betul2 cerita cinta..kalau nak buat cerita seram..kene buat betul2 seram macam filem jepun atau korea..tapi rasanya filem2 dari aflin shauki, suhaimi baba tidak kurang hebatnya..skrip filem mereka cukup bagus. Saya rasa kalau kreativiti penulis2 skrip drama dan filem tidak di sekat atau di kekang..rasanya mereka mampu melakukannya..suke filem melayu..dan akan tetap sokong filem melayu..nak tunggu filem 'cicak man'...
Murali abdullah <murabd@...> wrote:
assalamualikum,
Saya tidak
menafikan bahawa skrip-skrip sekarang tak berepa menarik..Ini kerena faktor utama ialah permintaan.TV station dan lpf di malaysia meletakkan perbagai syarat-syarat,undang-undang yang menutup kreativiti2 penulis skrip.Bagitu juga dgn producer-producer film yang tidak mahu belanja lebih,jadi mereka minta penulis skrip, kurangkan watak-watak,lokasi-lokasi,props dan play safe di mana tv staion akan beli..kalau nak ubah,buat usulan kepada tv steysen dan juga pada lpf.ok... --- annoycutie14 <annoycutie14@...> wrote:
> Assalamualaikum dan salam > sejahtera...ehaks..ter'formal'plak > nway,apa pendapat korang tentang skrip flm n drm di > malaysia? > sorry lah kalau topik ni dah ada sbb aku ni ahli > baru kan...dok tahu > aku terfikir juga kenapa penulis di ms ni semua > tulis cinta je...mana > sci-fi,mystery,fantasi,psikologi,thriller,action,keagamaan,dan > byk >
lagi genre. > kebanyakan genre ni semua x tersentuh pun...walaupun > kadang2 keagamaan > dan mystery ada..tapi jalan cerita boring n hanya > sekadar suam-suam > kuku je diaorang buat. > Pada pendapat aku,kbnyakan penulis ni minda nya > masih di takuk lama n > mereka tak byk terdedah pada 'dunia'...sme nak > fantasi sendiri anggap > dunia ni perfect ikut suka dia jer...aku rasa mereka > ni mungkin kurang > baca novel2 bagus kot..asyik nak baca URTV jer... > Sama macam novel lah..sme nak cinta jer. > So pada pendapat korang,apa yang boleh dibuat supaya > penulis skrip > kita jd lebih kreatif lagi? > pertandingan? biasiswa pergi belajar luar > negara?...?? > > > > > > > > >
__________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best
spam protection around http://mail.yahoo.com
BERLEBIHAN lemak dan kolesterol dalam badan antara masalah kesihatan ramai orang Melayu. Ini semua boleh membawa kepada penyakit-penyakit seperti serangan jantung dan angin ahmar.
Pemakanan memainkan peranan penting dalam menjaga paras lemak dan kolesterol agar berada pada tahap sihat. Kami memberikan beberapa panduan di sini:
Daging
Makan daging merah (misalnya lembu dan kambing) hanya tiga hingga empat kali seminggu.
Pilih bahagian kurang lemak, buang lemak yang kelihatan.
Kurangkan makan daging dalaman seperti ginjal, otak dan hati.
Gantikan daging dengan kekacang atau tahu pada hari-hari tertentu.
Ikan
Makanlah ikan, terutama ikan berminyak seperti sardin, ikan kembung dan salmon sekurang-kurangnya tiga kali seminggu.
Telur
Jangan makan lebih daripada dua
hingga tiga kuning telur seminggu. Kolesterol hanya terdapat dalam kuning telur. Putih telur tidak mempunyai lemak atau kolesterol dan boleh dimakan pada bila-bila masa.
Lemak dan minyak
Kurangkan penggunaan minyak untuk memasak.
Sapukan mentega dengan tipis.
Kurangkan sos berkrim dan berminyak seperti krim salad dan mayones.
Gantikan santan dengan susu rendah lemak atau tairu.
Kurangkan lemak tepu (mentega, minyak kelapa dan sawit) dan gantikan dengan minyak tidak tepu (marjerin lembut, kanola, kacang, zaitun dan kacang soya.
Gantikan mi goreng dengan mi sup.
Kurangkan makanan goreng dan snek kepada dua kali seminggu.
Makan buah segar dan bukan kek dan pastri.
Produk tenusu
Gunakan produk dan susu tanpa lemak atau rendah lemak.
Gantikan susu pekat/susu cair
dengan susu tanpa lemak/rendah lemak.
Untuk kurang memakan ikan atau ayam digoreng, guna petua ini.
Gaul ikan dalam emping jagung (cornflake) atau serbuk roti dan bakar.
Buang kulit ayam, rendam dalam susu tanpa lemak yang dicampur herba dan rempah ratus, gaul dalam serbuk roti atau emping jagung dan bakar.
Sumber:Lembaga Penggalak Kesihatan (HPB) _________________ "..Demi zat yang jiwa Muhammad ada di tanganNya, Tidaklah dua orang yang saling mengasihi, kemudian dipisahkan antara keduanya kecuali hanya kerana satu dosa yang dilakukan oleh salah seorang dari keduanya. " HR Ahmad
You watch a lot of films. You dream of someday making one (many!)
yourself. You ache to tell stories on the big screen. You wish to
connect with audiences out there.
You seriously want to study the creative, technical and business
processes of filmmaking.
We, at APFI, will involve visiting lecturers and focus group
discussions about scripts being conceived and developed. We treat
the script as a blueprint for a film work rather than as a kind of
literature.
Writing and production classes show how film industries in the Asia-
Pacific region operate and examine some of the aesthetic and
practical problems they deal with. Drills and exercises stress
cinematic storytelling techniques for theme, plot and character
development.
Students work within a production unit and each student has the
opportunity to alternate as writer, producer, director, designer,
photographer, field sound recordist, editor, scorer and sound mixer.
Students are trained to visualize the pattern of possibilities
presented by a script. Then they are taught the essential details of
preparation, script breakdown, budgeting, scheduling, unit
management and the tasks that will be undertaken by the different
creative and technical departments.
In the twenty-first century, learning the LANGUAGE OF MOTION
PICTURES is as popular as using friendly digital handycams, home
theaters and editing tools. Taking the bigger step towards
professional goals in filmmaking means mastering:
Traditions and Trends in Visual Storytelling
GRAMMAR. Cinematic Line of Vision. Creating Illusions of Space
Montage - Creating and sequencing Images of Picture and Sound
Mise-en-scene. SPACE and TIME as CONTEXT.
Human Nature: Characters in Conflict: The Heart of the Story through
the eyes of the Camera and Dolby Ears.
Creative Approaches to Production Challenges.
(a) Establishing the spirit of creative collaboration in the
workplace.
(b) Inter-phasing pre-production, production and post production
techniques.
(c) Resolving conflicts of interest between Commerce and Art,
between Filmmakers and Audiences, and between Media and Society
Presentation and Critical Viewing of 1-minute silent films (on video
format )
Aesthetics and Ethics: Theme in Style, Form and Content :
Entertainment as instrument for social well-being.
Experience has shown that formal educational achievement is not
always
the best indicator of latent film making talent. Accordingly, the
educational background of students at the Institute will be varied
and
APFI is willing to take appropriate experience into account. Students
may be admitted on the basis of evidence of professional or extensive
non-professional film work or experience in a related field.
Come Join AFPI Malaysia e-group now at:
http://movies.groups.yahoo.com/group/APFI_Malaysia/
Regards:
Mot from 3FClub
on behalf of:
MARILOU DIAZ-ABAYA
Director of Studies
Asia Pacific Film Institute
www.asiapacificfilm.com • study@...
185 Edsa, Brgy. Wack-Wack, Mandaluyong City, Philippines
Tel. (63-2) 725-5129 • Fax. (63-2)727-5129 • Mobile 63917-8579989
From the "S'kali" blog at www.perantauanpictures.blogspot.com :
www.skalithemovie.com is now LIVE!
Hi all,
When here it is finally! Our simple and concise website at
www.skalithemovie.com has gone live. You can access it by clicking on
the link above or the link in the sidebar.
S'kali is really a movie that is trying to tell ONE of the myriad of
stories that make up the Malaysian experience. It is a story that we
hope has elements within it that all of you can relate to. It is a
movie made by a young and new company whose only aim is to make
entertaining movies for the people who go to watch the movies; you
the paying public.
Over the coming weeks we will slowly but surely launch a range of
activities to get YOU, the public involved. This is a movie about
love, life and friendship, and we wanna try and get as many young
people involved to help get the word out and to get as many people
into the cinemas come August.
So what's on the website right now? Well you can get information
about the film, there are stills in the gallery and our 20 and 71
second trailers are available for download!
So click on to the site, have fun, and we look forward to getting you
all involved from now till the release of S'kali!
http://www.skalithemovie.com/
<From: "satuabdul@..." satuabdul@...
Date: May 13, 2006. Subject: RAIS YATIM "LET'S WATCH
LKT">
<FROM THE STAR FRI 12 MAY 2006>
<Screening for MPs proposed>
<The Culture, Arts & Heritage Ministry wants MPs to
view ‘Lelaki Komunis Terakhir’ to see for themselves
whether the banned film is inappropriate for
Malaysians. “We will invite the MPs to watch the movie
at Finas, but I doubt if many of them will want to
come,” said Minister Datuk Seri Dr Rais Yatim. “We
should not comment on the movie if we haven’t seen it.
How can you say that the movie promotes Chin Peng &
causes security concerns if you haven’t seen it?” he
told a press conference at the Parliament lobby
yesterday. Dr Rais said he would seek a review of the
film although it had been banned by the Home Affairs
Ministry…….>
---------
SEKALI LAGI pihak tertentu melatah! Dulu fasal 'nude
squatting.' Sekarang fasal 'filem Chin Peng.' Tak
periksa dulu sebelum bertindak. Begitu jugalah sebuah
akhbar (yang mana wartawannya juga tidak pernah tengok
kesemua filem-filem 'indie'). Begitu jugalah dua
Presiden Persatuan (yang terperangkap dengan 'leading
question' daripada wartawan. Syabas Razak Mohaideen,
Mahadi Murad & Osman Ali kerana tidak masuk perangkap
wartawan berkenaan). Nasib baik Menteri Kebudayaan,
Kesenian & Warisan seorang yang berfikiran waras! LPF
yang selama ini dikutuk & baru-baru ini dipuji,
sekarang pula dikutuk lagi – hanya kerana menjalankan
tugas dengan betul! Apakah Special Branch – yang
tentunya lebih arif tentang hal keselamatan - juga
akan jadi sasaran mereka yang kurang waras ini? Kita
tunggu & lihat kelatahan seterusnya menerusi BABAK
KETIGA yang bakal tiba.......Harap-harap rakyat
Malaysia akan tunjuk kematangan mereka seperti yang
dikehendakki Perdana Menteri kita. Barulah negara
boleh maju.
(PASCASKRIP: LKT mengangkat rakyat Malaysia yang
sering terpinggir. Orang-orang biasa yang kita selalu
lihat tetapi kita tidak pandang. Antaranya: penjual
cendol, penjual basikal, pemungut petai, penjual
petai, pengusaha arang, pekerja ladang kelapa sawit,
penjual limau, & juga mereka yang bertugas mengunci
jam besar di Bangunan Sultan Abd Samad supaya ianya
bunyi tepat jam 12 malam, 31 Ogos setiap tahun. Mereka
ini terdiri daripada kaum Melayu, Cina, India, India
Muslim & Orang Asli. Mereka semua turut terlibat dalam
perjuangan memakmur & membangunkan negara - cuma tak
tercatat dalam buku-buku sejarah).
“Kalau kita mandi pakai ‘shower’ adakah hilang Melayu
kita?” – MAMAT KHALID (Mingguan Malaysia 13 May 2006)
“Aku suka Beatles. Aku suka rock. Tapi aku tetap
Melayu” – M NASIR: KEMBARA SENIMAN JALANAN (Nasir
Jani, 1986)
__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
Tajuk ISTERI, PEREMPUAN DAN JALANG disunatkan kerana
sensitif. Adegan perempuan bercakap tentang politik
dalam JOGHO juga disunatkan. Stesen TV tak mahu tayang
KAKI BAKAR fasal heronya orang Indonesia. Lambang
sebuah parti politik dalam RINGGIT KASORGGA kena
tukar, tapi lambang parti politik yang lain boleh pula
dalam telemovie BISIKAN MALAYA! Benda sulit lelaki
begitu terang disebut dalam program ASTRO seperti
FRIENDS & PARKINSON tak pun kena sunat (pun intended!
Wah – double pun!! Kena beli loteri! Tapi loteri dah
diharamkan!).
Perkataan JALANG & KOMUNIS ada dalam kamus. Jom kita
kempen buang perkataan-perkataan tu! Banyak sangat
yang sensitif. Mailah ramai-ramai buat filem yang
tajuknya tak sensitif seperti BUJANG SENANG LENANG,
BULI TAK NAK BALIK, EMBUN KEMBALI, PALOH MENGELUH,
ANAK MAMI PENGSAN…..Hai, dah melatahlah aku ni!!
“Heh, heh! Bergurau aje!” – Sang Buaya dalam SANG
KANCIL & BUAYA (1987).
__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
Aku baca artikel nie, tapi aku sendiri tak faham apa
kaitan UMNO dengan filem. UMNO tuh parti politik,
bukannya produser atau pengarah filem. Buat apa UMNO
nak buat filem? Tapi peranan kerajaan dalam industri
filem lainlah, but still aku rasa UMNO takde kaitan
dengan bikin filem.
Bab filem melayu / filem malaysia, aku pedulik apa
filem tuh di kategorikan sebagai filem melayu atau
filem malaysia. Bagi aku filem malaysia tuh ialah
apa-apa filem yang diterbitkan di malaysia oleh orang
malaysia. Filem melayu pulak? nih filem yang target
market dia orang melayu, since orang bangsa lain bila
tengok rasa bosan sebab bangsanya umpama tak wujud
dalam filem tuh. Lagipun apalah yang nak dikecohkan
tentang filem melayu / filem malaysia? Yang aku tahu
kalau filem tuh best tak kira lah filem melayu ke,
tamil ke, itali ke russia ke, aku tengok jea sampai
habis. Kalau filem tuh tak best,aku stop tengok.
--- Nizam Zakaria <cucop74@...> wrote:
>
http://www.bharian.com.my/m/BHarian/Thursday/Hiburan/20060511084552/Article/
>
> Nukilan-nukilan pilihan:
>
> "Ingat, Malaysia bukan saja didiami Melayu dan Cina.
> Filem Malaysia yang
> sebenarnya harus ditunjukkan semua kaum yang ada di
> negara ini termasuk
> masyarakat Iban atau Kadazanduzun, atau kaum Sikh
> dan Orang Asli juga
> mesti dipaparkan jika kita mencari makna sebuah
> filem Malaysia."
>
> Jadi... Dia tak akan buat bising ke kalau filem
> 'Sepet' tu percintaan
> antara gadis Melayu dengan lelaki India?
>
> --
>
> "Filem Melayu juga adalah filem yang bercakap untuk
> bangsanya dan ia
> seolah-olah menjadi imej filem Malaysia sejak dulu.
> Kaum lain boleh
> teruskan buat filem bangsa sendiri. Tetapi jangan
> pula ada pihak cuba
> menafikan atau memadamkan hak filem Melayu. Kita
> selalu terperangkap
> dalam dilema kritikal, siapa prejudis siapa?"
>
> Siapa pihak yang mahu memadamkan hak filem Melayu?
> Boleh sesiapa tolong
> jelaskan siapa yang cuba dia maksudkan ni?
>
> --
>
> "Filem Cina Malaysia macam Beautiful Washing Machine
> atau filem India
> Malaysia seperti Chemman Chaalai tetap filem dari
> Malaysia tetapi ia
> bukan gambaran Malaysia sebenarnya. Jangan berhelah
> dalam perkara ini.
> Dalam konteks ini dan berkait dengan Umno, ia
> bermakna filem Melayu
> adalah filem nasional apabila kita merujuk kembali
> pada Dasar Kebudayaan
> Kebangsaan."
> Seriously... I still can't see how UMNO is connected
> to context. Boleh
> sesiapa explain kat aku apa dia cuba cakap ni?
>
> --
>
> HARI ini, parti Melayu terbesar dunia, Umno
> diraikan. Usia Umno kini sudah
> 60 tahun. Sebagai parti yang menunjangi ketuanan
> politik dan kerajaan
> Malaysia, ia harus dipertahankan demi masa depan
> bangsa dan negara. Ini
> sejajar pesan Presiden Umno, Datuk Seri Abdullah
> Ahmad Badawi, apabila
> beliau menyeru ahli Umno supaya mengambil semangat
> ulang tahun ke-60
> parti itu dengan terus mempertahankan parti yang
> berdepan pelbagai isu
> semasa dan semakin mencabar.
>
> Umno bersama parti lain berjaya membentuk
> kesepakatan antara kaum, agama
> dan keturunan - sekali gus menjadikan Malaysia unik
> dan harmoni sehingga
> kini, selama Malaysia menikmati kemerdekaan negara.
> Ia membuktikan Melayu
> dengan kaum lain termasuk Cina dan India hidup dalam
> lingkungan saling
> menghormati dan harus diteruskan generasi baru tanpa
> bersikap prejudis
> atau mencipta sensitiviti terhadap satu sama lain.
>
> Begitu juga dunia filem Melayu, tidak wajar ada
> prejudis dari kaum lain
> apabila Melayu mahu terus mempertahankan nama dan
> semangat filem Melayu
> yang menjadi teras filem nasional selama ini. Filem
> Melayu bukan baru
> berusia setahun dua, ia juga bukan lahir kerana
> racist terhadap Cina atau
> India tetapi ia lahir atas sokongan kaum lain
> bersama Melayu yang menjadi
> refleksi sinema Malaysia selama ini. Kerana bantuan
> kaum lainlah, filem
> Melayu lahir pada era pramerdeka dan terus
> berkembang sehingga kini.
> Sejak dulu lagi, filem Melayu ada memancarkan imej
> watak Melayu dan kaum
> lain dalam filem. Malah, filem Melayu disokong kuat
> oleh pemodal Cina dan
> tenaga kerja India.
>
> Kita juga hairan sejak dulu lagi kenapa tidak ada
> pemodal mahu buat filem
> mengenai masyarakat Cina, India atau kaum lain di
> Tanah Melayu. Shaw
> Brothers dan Ho Ah Loke tetap mahu buat filem
> Melayu. Sekarang, tauke
> Metrowealth, David Teo juga setia buat filem Melayu.
> Kita berbangga sebab
> sekarang ada perhatian untuk mempelbagaikan filem
> Malaysia, maka lahirlah
> filem yang memaparkan masyarakat Cina dan India
> sebagaimana dihasilkan
> pengarah generasi baru.
>
> Kita tertarik pada satu kiriman emel daripada
> Zulkifli Mohamad yang
> mengaku filem Gubra sesungguhnya adalah filem
> Malaysia. Alasannya itu
> mungkin kerana ada watak utama wanita Melayu dan
> pemuda Cina. Bunyinya
> agak kelakar. Kenapa mereka tidak mahu mengiktiraf
> filem Sembilu 2005
> sebagai filem Malaysia kerana ada beberapa kaum juga
> dipaparkan, begitu
> juga filem lain seperti Buli, Hanya Kawan dan Tsu
> Feh Sofia, malah filem
> Senario pun juga bukan sekadar tunjukkan imej watak
> Melayu.
>
> Sebenarnya filem Melayu sejak dulu lagi, malah zaman
> P Ramlee (Gerimis dan
> Sesudah Suboh) sudah pun ada semangat muhibbah dan
> perpaduan kaum yang
> lebih menarik dan tidak sensitif terhadap umat
> Islam. Watak Melayu dan
> Cina serta India sudah lama ada dalam filem Melayu.
> Jangan sengaja
> menutup sejarah perfileman negara untuk mengatakan
> filem Melayu tidak
> memancarkan imej Malaysia. Kata Zulkifli:
> “Dalam komponen
> pembikinan filem di negara ini pada masa lalu, ia
> begitu muhibah kerana
> Cina menjadi produser, India menjadi sutradara dan
> pelakonnya adalah
> Melayu. Dan, sudah tentu Melayu yang mendapat
> glamor. Ia masih kekal
> sebab Cina ada wang dan India ada kemahirannya.
> Sebab itu, adalah berbeza
> apabila bercakap soal filem Melayu dengan filem
> Malaysia. Kita perlukan
> satu definisi baru!”
>
> Cuma, apabila ada pengarah generasi baru yang
> membuat filem mengulangi
> cerita gadis Melayu dan Cina bercinta, mereka
> seolah-olah nampak itu satu
> contoh filem Malaysia. Ingat, Malaysia bukan saja
> didiami Melayu dan Cina.
> Filem Malaysia yang sebenarnya harus ditunjukkan
> semua kaum yang ada di
> negara ini termasuk masyarakat Iban atau
> Kadazanduzun, atau kaum Sikh dan
> Orang Asli juga mesti dipaparkan jika kita mencari
> makna sebuah filem
> Malaysia. Kalau ada semua kaum di Malaysia
> dipaparkan dalam filem,
> barulah tulen untuk diperoleh definisi filem
> Malaysia. Kerajaan tidak
> pernah larang buat filem berkaitan kaum
> masing-masing. Buatlah.
> Panggillah semua itu filem dari Malaysia, bukan saja
> hanya ada watak
> Melayu dan Cina saja sudah dianggap filem Malaysia.
> Jangan nafikan hak
> kaum lain.
>
> Namun, filem Melayu sudah ada rekod laluan yang
> panjang. Tahun ini, filem
> Melayu berusia 73 tahun. ia terus hidup dan akan
> terus dipertahankan.
> Filem Cina Malaysia macam Beautiful Washing Machine
> atau filem India
> Malaysia seperti Chemman Chaalai tetap filem dari
> Malaysia tetapi ia
> bukan gambaran Malaysia sebenarnya. Jangan berhelah
> dalam perkara ini.
> Dalam konteks ini dan berkait dengan Umno, ia
> bermakna filem Melayu
> adalah filem nasional apabila kita merujuk kembali
> pada Dasar Kebudayaan
> Kebangsaan.
>
> Filem bercakap atas nama bangsa. Pengkaji filem
> terkenal, Van der Heide
> juga mengaku sinema bermaksud bercakap mengenai
> sesuatu bangsa. Dalam hal
> ini, kita merujuk kepada bangsa Malaysia yang ada
> banyak etnik, bukan satu
> dua kaum terbesar dan ia harus berpegang pada
> prinsip Rukun Negara. Filem
> Melayu juga adalah filem yang bercakap untuk
> bangsanya dan ia seolah-olah
>
=== message truncated ===
__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
Kelab Seni Filem Malaysia screened
this series of excellent shorts by German film students to very appreciative
audiences at HELP University College last week. They are programmed into
4 themed segments:
YOU & ME (5 films, 81 min) CLOSE TO HOME & FAR AWAY
(8 films, 108 min) YOUNG & OLD (6 films, 97
min) SHOULD I STAY OR SHOULD I GO
(7 films, 75 min)
These works have won all kinds
of awards, both at home and internationally, and some are Oscar nominations
for Best Short Film.
Watching them, you'd never imagine
they were all student projects, such is their level of technical and artistic
superiority.
To secure a wider audience for
these little gems, Kelab Seni Filem on behalf of Goethe-Institut KL offers
these 4 programs (in DVD) to film school teachers in Malaysia who'd like
to show them to their students as prime examples of the fine art of short
filmmaking.
Please call 012-2255136 for bookings
or further info.
Tudung Short Film Competition The prizes were awarded
on Sat 13 May at HELP Univ College Theatrette to the winners: 1st Prize : Chong Chan
Fui ("Tuesday Be My Friend") - RM5,000 2nd Prize : Wee Han Wei
("Put Your Scarf on My Head") - RM3,000 3rd Prize : Wan Muhammad
& Nadiah Hamzah ("An Afternoon with the Hijjabed") - RM2,000 Special Mention : Azmad
("Free Hair") - RM500 A public screening of
the competition entries will be held at a later date. In the meantime, these
films will be available for viewing on DVD at Goethe-Institut, 1 Jalan
Langgak Golf, Kuala Lumpur from Monday 21 May. Please call Ms Patsy Ng
at 03-21422011 for appointment to view Mon-Fri during office hours 9am-6pm. The list of entries: 1. Tuesday Be My Friend
(Chong Chan Fui; 9 min) 2. Tudung (Liew Seng
Tat & Zan Azlee; 3:21 min) 3. Tudung Saji Buah Hati
(Lim Yee Hwa; 3 min) 4. Tudung Talk (Kannan
Thiagarajan & Woo Ming Jin; 9 min) 5. Put Your Scarf on
My Head (Wee Han Wei; 7 min) 6. Free Hair (Azmad;
8:24 min) 7. Uncovering the Covered
(Ashok Kumar; 9:20 min) 8. An Afternoon with
the Hijjabed (Wan Muhammad & Nadiah Hamzah; 8:30 min) 9. The Little Tudung
(Tan Gaik Lan; 11:23 MIN) 10. Tudong or Not Tudong
(Raymond Sekhon; 3:32 min) 11. Mirror (Christopher
Low; 15 min) TOTAL RUNNING TIME :
87:30 min
Kelab Seni Filem Malaysia
thanks Dr Volker Wolf, Director of Goethe-Institut KL, for initiating and
sponsoring the competition. Some entries have already been screened at
international festivals. The package will also be introduced to other festivals.
Thanks also to Amir Muhammad,
Ho Yuhang, Yati, Hassan Muthalib and Volker Wolf for judging the competition.
Kelab Seni Filem Malaysia's film tonight
is Billy Wilder's classic SUNSET BOULEVARD (US,
1950, 111 min) One of Billy Wilder’s finest
films, and certainly the blackest of all Hollywood’s accounts of itself,
this film tells in flashback how a bankrupt screenwriter (William Holden),
fleeing from his creditors, becomes entangled with a faded star of the
silent era (Gloria Swanson) who is on the verge of insanity but who still
entertains hopes of a comeback. A tale of humiliation, exploitation and
dashed dreams in Tinseltown, with suitably sordid performances, precise
direction and appropriately noir camerawork. Included in Time Out
magazine’s top 100 films. This is the original version.
HELP Univ College, 8.00pm
Directed by Billy Wilder,
produced by Charles Brackett, scripted by Wilder & Brackett Billy Wilder and Charles
Brackett were among the great film makers of early Hollywood. They had
worked on many projects together, including Greta Garbo's Ninotchka
(1939),and 1945's The Lost Weekend, which dominated that year's
Academy Awards. For 14 years, they captivated audiences of varied film
genres, earning the respect of the critics in the process. In 1949, the idea for
the film came quite simply: Wilder said to Brackett, "How about an old
star who has lost her standing in silent pictures and sound pictures?"
With that thought, Sunset Boulevard was born. The role of Norma Desmond
was originally offered to Mae West, whose last screen appearance had been
in 1943. Billy Wilder had initially envisioned Norma as a bombshell, full
of earthy sex appeal. The film was envisioned to be an outrageous satire
on ambition which would also unmask the politics of Hollywood. Miss West,
however, showed no interest in the role. Without her, the project took on a different
tone, and the character of Norma evolved into its final, tragic, faded-glamour
queen concept. The role was then offered
to silent film great Pola Negri (who couldn't play the role because of
her thick Polish accent), Mae Murray, and Mary Pickford (Wilder remembers
of Pickford: "...halfway through (the pitch), we saw her fallen face was
falling some more, as if she was saying, 'Are they mad? This is me, Mary
Pickford, America's darling. I am to play a woman who seduces a writer
20 years younger and gives him presents?' So, in the middle of it, we stopped,
and said, 'Miss Pickford, we are in grave error. This is certainly not
the way that we remember you, the way you were at your height. Forgive
us,' and we backed out of the house"). Finally, director George
Cukor Cukor suggested Gloria Swanson. Swanson was living in New York at
the time, and was telephoned by Wilder. Swanson was extremely surprised
to receive the call; she had been out of show business for so many years.
She was also annoyed by the fact that she was being called not to be cast
in the film, but to do a screen test. "What the hell do you have to test
me for," she asked. "You want to see if I'm alive, do you? Or do you doubt
that I can act?" The rest of the casting
went on smoothly. Montgomery Clift agreed to take on the role of the young
writer, Joe Gillis. He was extremely hot property in Hollywood, having
been nominated as Best Actor in the Academy Awards for his very first film
role, in 1948's The Search. The other cast members willingly signed
on, including silent screen greats Buster Keaton, HB Warner, Anna Q Nilsson, director
Cecil B DeMille, and gossip columnist Hedda Hopper, all of whom would add
touches of realism to the tragic Hollywood tale. However, two weeks before
filming, Clift backed out, saying, "I don't think I can be convincing making
love to a woman twice my age." Wilder was outraged. He said, "If he's any
kind of actor, he could be convincing making love to any woman!" As the
start date of filming was fast approaching, they decided to go through
the list of Paramount contract players, and selected William Holden. Swanson
was apprehensive about the casting of the 31-year-old Holden, feeling that their age difference
would not be pronounced enough. She balked at the idea of making her look
older with make-up, suggesting to Wilder: "Can't you use make-up on Mr.
Holden instead, to make him look more youthful?" Holden, too, had his
own apprehensions. After accepting the role, he told his wife, "I'm scared.
I've agreed to do this picture and I'm not sure I can deliver." The film's
eventual success would prove all their worries to have been unfounded.
Filming commenced on April 11, 1949.
Send in your Animation Films for the International
Animation Film Festival at Hiroshima, Japan, 24 - 28
August 2006. Closing date: April 1, 2006. Log in to
http://www.urban.ne.jp/home/hiroanim/ for the forms.
Email: hiroanim@...
__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
Send in your entries for the OTTAWA 06 INTERNATIONAL
ANIMATION FESTIVAL 20 - 24 Sept, 2006. Deadline June
16.
TV ANIMATION CONFERENCE Sept 20 - 21 (animation
specific trade forum). ANIMARKET Sept 22 - 24 (a trade
fair featuring recruiters, software demos, schools,
producers, broadcasters & the Technology Forum).
Log in to: www.animationfestival.ca
Guys, check out this city. It has an incredible number
of bookshops (new & used)!
__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
Malam nie 12 hb Mei 2006, Persembahan Penilaian Teater The MAIDS akan berlangsung di Exsperiment Teater, Akademi seni Kebangsaan pukul 8.30 mlm. Teater tersebut adalah persembahan pelajar adalah penilaian Peta 2006. semua dijemput hadir. masuk adalah percuma.
Here my piece of opinion originally i wrote for Pojok Maya:
http://pojok-maya.blogspot.com/2006/05/lelaki-komunis-haram.html
Berita pengharaman filem 'Lelaki Komunis Terakhir' mula sekali aku
baca semasa menjelajah laman web imdb. Wau, laman web antarabangsa itu
memuatkan berita mengenai Malaysia.
Ya, reaksi pertama aku ialah teruja melihat berita filem Malaysia di
dalam imdb, bukan berita perihal pengharaman itu. Kenapa? Kerana aku
duduk di Malaysia dan perkara-perkara aneh ini bukan sekali dua
terjadi. Ingat bagaimana Mighty MORPHIN Power Rangers diubah tajuk dan
Daredevil diharamkan HANYA kerana tajuknya? Malaysia memang...unik.
Kemudian hal pengharaman ini terpampang di Screenshots. Terima kasih
kepada Jeff Ooi yang memberikan begitu banyak link untuk aku baca
perkembangan isu ini. Antara yang mendapat perhatian aku ialah hal
berkaitan artikel yang ditulis oleh wartawan Akmal Abdullah (dia lagi)
di ruangan Hip- Berita Harian pada Jumaat lepas menyentuh hal ini.
Sekali lagi Akmal Abdullah tersengih-sengih kerana sudah berjaya
menyelamatkan orang-orang Malaysia dari belenggu fahaman komunis.
Syabas Akmal.
Pihak berkuasa terbabit (dalam kes ini - Ministry of Home Affairs)
telah mengharamkan (ban) untuk tayangan umum. Menurut Amir Muhammad,
pengharaman tersebut dibuat TANPA memeriksa isi kandungan produk
tersebut. Keputusan dibuat berdasarkan HANYA beberapa artikel dari
Berita Harian.
Bagaimana ini boleh terjadi? Keputusan yang dibuat hanya berdasarkan
andaian nyata menyerlahkan sifat takut, paranoid dan terburu-buru. Apa
yang cuba dibuktikan di sini? Adakah BERITA HARIAN itu kitab muktamad
untuk orang-orang Malaysia? Adakah pengharaman ini bermakna rasa
patriotik terhadap negara telah dijunjung? Adakah makna Amir Muhammad
tidak patriotik bila menghasilkan filem menyentuh isu komunis? Dan
jika isu tersebut pun disentuh, adakah adil menghukumnya tanpa
sebarang usul periksa (Dalam hal ini - 'usul periksa' yang dimaksudkan
adalah menonton terlebih dahulu TANPA PREJUDIS sebelum membuat
penilaian). Pihak terbabit nyata semacam tidak ambil peduli langsung
untuk memeriksa apakah approach atau angle penyampaian produk Amir.
Apa yang mereka tahu - filem ada tajuk komunis merbahaya untuk rakyat
Malaysia dan mendakwa 'orang awam telah membantah'.
'Public Interest' - Aha, jadi lagi. Sesuatu isu berbangkit atas nama
masyarakat. Sama la macam kes Kaki Kino, bila SEORANG penonton dari
LIMA PULUH penonton mengadu, tiba-tiba dia (yang SEORANG) mewakili 24
juta rakyat Malaysia yang lain pula.
Tidak dapat lari, aku juga akan dituduh membela filem yang
mengagungkan orang-orang Komunis. Jujurnya, aku belum menonton filem
ini. Makanya aku tidak tahu apa isi ceritanya. Wajarkah aku terus
bersifat 'judge a film by it's title'?. Kenapa pula aku hendak membela
produk yang aku belum tonton? Amir Muhammad juga bukanlah kawan aku.
Aku kenal dia, dia tak kenal aku. Ia lebih menjurus tentang persoalan
membuat keputusan. Matangkah kita dalam membuat keputusan yang kita
sendiri tidak tahu di mana tapak pegangannya? Apa yang aku
persoalankan kenapa ia dihakimi tanpa terlebih dahulu dijalankan
proses kehakimannya?
Adapun entri aku kali ini juga bukanlah menidakkan semangat patriotik
aku. Cuma agak kesal dalam pada semua berteriak mahu menjadikan
orang-orang Malaysia sebagai yang maju daya fikirnya, tapi masih ada
yang semberono dalam membuat keputusan dan terburu-buru dalam mencipta
andaian. Ada orang melolong marah bila orang luar memperkecilkan kita,
tapi dalam pada masa yang sama banyak tindakan yang kurang arif dibuat
oleh orang kita. Menuduh 'media asing' selalu membuat laporan ikut
sedap otak mereka, tapi perbuatan sesetengah dari kita sama rencah
dengan 'media asing'.
Hasarat aku kepada mereka-mereka yang resah gelisah dengan tajuk
'Lelaki Komunis Terakhir', mungkin boleh cuba tengok dahulu apa isi
dalamnya tanpa bergantung kepada laporan-laporan orang yang prejudis.
Mungkin ceritanya dikaji dalam-dalam dan jika mahu diharamkan
sekalipun, perlukan disertakan dengan alasan-alasan yang cukup
munasabah kepada tuan empunya produk.
Atau mungkin 'Lelaki Komunis Terakhir' yang diharamkan sekarang bakal
menjadi salah satu filem penting 50 tahun akan datang, sama seperti
Citizen Kane?
Nota:
Aku tidak tahu bagaimana etika kewartawanan dijalankan di Malaysia.
Tapi buat kali keriga berturut-turut, saudara Akmal telah menghentam
sesuatu isu tersebut tanpa berada/melihat produk yang dihentamnya.
Pertama: Isu Kaki Kino dan Finas di mana kritikannya berdasarkan aduan
dari SEORANG penonton, Kedua: Isu GUBRA di mana dia menghentam hanya
berdasarkan ulasan tanpa menontonnya dan kali ini isu Lelaki Komunis
Terakhir bila dia sendiri tidak pernah melihat isi kandungannya. Apa
yang aku nampak dia sama sahaja seperti wartawan dari tabloid yang
membuat laporan mengenai wujudnya Loch Ness di dalam tasik. Atau
memang mungkin itu konsep yang dibawakan oleh Berita Hairan?
THE Culture, Arts and Heritage Ministry wants MPs to view Lelaki Komunis Terakhir (The Last Communist) to see for themselves whether the banned film is inappropriate for Malaysians.
“We will invite the MPs to watch the movie at Finas, but I doubt if many of them will want to come,” said Minister Datuk Seri Dr Rais Yatim.
“We should not comment on the movie if we haven’t seen it. How can you say that the movie promotes Chin Peng and causes security concerns if you haven’t seen it?” he told a press conference at the Parliament lobby yesterday.
Dr Rais said he would seek a review of the film although it had been banned by the Home Affairs Ministry.
The film should have been given impartial treatment by everyone first, he said, but agreed that the title could be “repulsive” to Malaysians.
On Wednesday, The Star quoted the film’s writer and director Amir Muhammad as saying that reports in a local daily might have influenced the authorities to ban his movie.
The film was earlier passed uncut by the National Film Censorship Board and had even been viewed by the Special Branch.
Opposition Leader Lim Kit Siang asked why the film was banned when representatives from the Board and Special Branch officers had viewed and approved it for screening.
He said if the film had actually glorified Chin Peng, the Government should then sack the Board members for approving it.
In Ipoh, the Perak Heritage Society said the 90-minute semi-musical documentary, shot mainly in the state, was “a fun movie that dealt with serious and depressing situations in a light manner.”
“Chin Peng, the exiled leader of the banned Communist Party of Malaysia, doesn’t even appear in the movie,” said society president Law Siak Hong.
He stressed that the film did not glorify Chin Peng in any way.
“How can the authorities say the film glorifies Chin Peng? They have not even seen it,” said Law, who insisted that the film was harmless.
The Home Affairs Ministry banned the film on May 5, two weeks before its scheduled release on May 18.
The film features interviews with locals in the Perak towns of Sitiawan, Taiping, Tanjung Malim, Grik and Bidor.
--
_______________________________________________
Search for businesses by name, location, or phone number. -Lycos Yellow Pages
mi3--not a bad movie but ada persamaan dengan tv
series 24 hours.....karektor ethan hunt lebih kurang
sama dengan jack baur...mungkin itu pandangan saya
aje..tapi even the camera shots pun ada banyak
persamaan..walau mcm mana pun saya enjoy watching the
movie--any news on Man Laksa???is it good?
--- Hassan Muthalib <hasanimasi@...> wrote:
> A worthwhile watch - but I prefer the Thai movie
> dubbed into Bahasa Indonesia, CINTA PERTAMA - MY
> GIRL,
> which I saw 3 times within 1 week!
>
>
> MISSION IMPOSSIBLE 3: MISSION ACCOMPLISHED by Danny
> Munso
>
> Writers: Alex Kurtzman & Roberto Orci & J.J. Abrams
> (latter also directed)
>
> Tom Cruise hires the red-hot J.J. Abrams to reinvent
> his pet franchise with great results, as Abrams &
> company achieve genuine emotion by bringing the
> action
> down to a personal level. Special Agent Ethan Hunt
> (Tom Cruise) is retired from the daily rigors of
> field
> work, choosing to spend his days training young
> agents
> to be badass like him & spending time with his
> fiancée
> Julia (Michelle Monaghan). He's lured back into
> active
> duty when Lindsey Farris (Keri Russell), a prized
> trainee of his, is kidnapped by arms dealer Owen
> Davian (Philip Seymour Hoffman). Her subsequent
> rescue
> by Hunt's IMF team (Ving Rhames, Maggie Q, Jonathan
> Rhys Meyers) begins a give-&-take between Hunt &
> Davian that ends up pissing off Davian so much that
> he
> takes Julia hostage & gives Hunt 48 hrs to complete
> quest that can make Davian a very rich & very
> dangerous, man.
>
> After several false starts, producer/star Tom Cruise
> finally got the 3rd installment of his
> mega-franchise
> off the ground by bringing aboard writer/director
> J.J.
> Abrams, who makes his feature directorial debut
> here,
> but earned his chops on the small screen as the
> creator of ALIAS & co-creator of LOST. Word is
> Abrams
> was hired based on his work behind the camera of the
> epic 2-hr LOST pilot, but it's his work on ALIAS
> that
> makes him ideal to bring the M:I franchise to the
> next
> level. That show's primary influence was always the
> original Mission: Impossible TV show, & Abrams' work
> on TV has always featured the hallmark of telling
> one
> long filmic story over the course of several
> seasons,
> as opposed to stand-alone episodes. To that end, he
> brought on board his former ALIAS writers Alex
> Kurtzman & Roberto Orci (The Island) to bring
> super-spy Ethan Hunt's newest adventure to the big
> screen, with one minor difference: Tom Cruise avoids
> many of the skimpy outfits Jennifer Garner is forced
> to wear.
> The main thing that sets M:i:III apart from its
> predecessors is that Hunt is not trying to save the
> world; he is simply trying to save his wife. The 1st
> film's convoluted set-up made little sense, but was
> still an enjoyable ride for the most part, while the
> 2nd installment was altogether forgettable. With
> this
> film, the writers place the problem directly at
> Hunt's
> core & bring the story to a personal level that few
> action films in recent memory attempt to reach. at
> its
> absolute peak, M:I:3 thrills like few films before
> it,
> whether it's a heart-stopping swing to a Shanghai
> rooftop or a romp thru the Vatican that can only be
> described as sheer fun. However, the action takes on
> a
> different resonance when you realize Hunt is not
> doing
> this for his country as in the past. (He actually
> breaks several IMF policies in carrying out these
> missions.) Rather, he is driven by sheer affection,
> 1st for his lost protég?& then for his significant
> other.
>
> Unfortunately, the film sometimes fails to live up
> to
> the script's better ideas. Sometimes the stunts are
> so
> incredible that you forget that, while there are
> presumably strong bonds between Hunt & the rest of
> the
> film's characters, most of the relationships come
> off
> as underdeveloped. Julia should be the emotional
> core
> of the film, but we never really get to know that
> much
> about her except that she is a physician & that she
> can learn how to use a gun in remarkably little
> time.
> Most of the other fringe characters are given little
> time to set up anything resembling a persona, except
> for computer whiz Luther Stickell (Rhames), the only
> holdover from the first 2 MISSIONS. He has a few
> nice
> moments with Hunt & provides the film with
> much-needed
> humor, but the writers should have made him a more
> prominent figure & realized that Luther makes a
> better
> on-screen pairing with Hunt than any girl in the
> film.
> Fortunately, whatever attention was scrimped on
> Julia
> & the rest of Hunt's Impossible Mission Force
> buddies
> was clearly focused on crafting one hell of a
> villain
> -- Owen Davian is both arrogant & vicious. Using an
> old ALIAS trick of opening with a scene from later
> in
> the story, M:i:III kicks off with Hunt strapped to a
> chair & Davian with a gun to Julia's head, saying
> that
> he will kill her if Hunt doesn't give him what he
> wants?amp; you believe every word he is saying. The
> hatred between hero & foil has never been so strong,
> &
> it's disappointing as the film begins to wind up
> that
> they're never really given the stage they deserve to
> have a climactic battle. But that's not to discount
> that what makes this film run is the sheer emotion
> wrenched out of Hunt at the hands of this evil
> mastermind.
>
> Spoiler warning!
>
> However, the writers also undermine the thesis they
> set up at the beginning of the film: Hunt's view
> that
> a secret agent have a life outside his job (inc a
> wife), a view that Luther & the rest of the team
> argue
> against. While the story's denouement seems to prove
> Hunt's thesis, it's a false positive. The things
> that
> Hunt does to protect &/or save his wife -- losing
> his
> cool in several situations with Davian that endanger
> himself & his team, becoming Davian's pawn, and
> delivering to the amoral arms dealer possibly the
> most
> deadly weapon in history -- prove Hunt wrong. In his
> line of work, where the mission is paramount & must
> come before anyone's life, a significant other is a
> significant liability. M:i:III proves how a villain
> can exploit an IMF agent thru their personal life,
> diverting the agent's attention from the most
> significant factor: the missions that this highly
> specialized team endure mean life & death for large
> numbers of people (& sometimes geopolitical
> stability), & nothing must distract from victory in
> that arena. A normal life, unfortunately, is a
> casualty of that dedication.
>
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam? Yahoo! Mail has the best spam
> protection around
> http://mail.yahoo.com
>
>
>
>
__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
http://mail.yahoo.com
asalamualaikum........boleh tak saya nak tahu pasal costing dan format utk buat rancangan dokomentari &magazine....sesiapa yang ada format tu bleh tak past kan pada saya....utk 13 episod.
Norlia Hj Bujang <normaniza76@...> wrote:
walakumsalam..
betul jugak apa yang di katakan oleh Encik murali..(dah lama tak wat drama?..hihhii) bukan tak ada yang mampu buat skrip2 drama atau filem dengan lebih baik..cuma ada berapa faktor yang mungkin menghalang penulis2 skrip untuk menghasilkan idea2 baru..cerita2 yang lebih segar..kene faham2 la..ramai yang sekrang dok puji filem2 dari indonesia kerana jalan cerita atau skrip mereka yang lebih terbuka..tak nak terikat pada satu konsep aje..kalau nak buat cerita cinta..memang buat betul2 cerita cinta..kalau nak buat cerita seram..kene buat betul2 seram macam filem
jepun atau korea..tapi rasanya filem2 dari aflin shauki, suhaimi baba tidak kurang hebatnya..skrip filem mereka cukup bagus. Saya rasa kalau kreativiti penulis2 skrip drama dan filem tidak di sekat atau di kekang..rasanya mereka mampu melakukannya..suke filem melayu..dan akan tetap sokong filem melayu..nak tunggu filem 'cicak man'...
Murali abdullah <murabd@...> wrote:
assalamualikum,
Saya tidak menafikan bahawa skrip-skrip sekarang tak berepa menarik..Ini kerena faktor utama ialah permintaan.TV station dan lpf di malaysia meletakkan perbagai syarat-syarat,undang-undang yang menutup kreativiti2 penulis skrip.Bagitu juga dgn producer-producer film yang tidak mahu belanja lebih,jadi mereka minta penulis skrip, kurangkan watak-watak,lokasi-lokasi,props dan play safe di mana tv staion akan beli..kalau
nak ubah,buat usulan kepada tv steysen dan juga pada lpf.ok... --- annoycutie14 <annoycutie14@...> wrote:
> Assalamualaikum dan salam > sejahtera...ehaks..ter'formal'plak > nway,apa pendapat korang tentang skrip flm n drm di > malaysia? > sorry lah kalau topik ni dah ada sbb aku ni ahli > baru kan...dok tahu > aku terfikir juga kenapa penulis di ms ni semua > tulis cinta je...mana > sci-fi,mystery,fantasi,psikologi,thriller,action,keagamaan,dan > byk > lagi genre. > kebanyakan genre ni semua x tersentuh pun...walaupun > kadang2 keagamaan > dan mystery ada..tapi jalan cerita boring n hanya > sekadar suam-suam > kuku je diaorang buat. > Pada pendapat aku,kbnyakan penulis ni minda nya > masih di takuk lama n > mereka tak byk terdedah pada 'dunia'...sme nak > fantasi sendiri anggap > dunia ni perfect ikut suka dia
jer...aku rasa mereka > ni mungkin kurang > baca novel2 bagus kot..asyik nak baca URTV jer... > Sama macam novel lah..sme nak cinta jer. > So pada pendapat korang,apa yang boleh dibuat supaya > penulis skrip > kita jd lebih kreatif lagi? > pertandingan? biasiswa pergi belajar luar > negara?...?? > > > > > > > > >
__________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
POSTPONED We regret that owing to unforeseen
circumstances, the screening of the TUDUNG SHORT FILM COMPETITION entries
on Sat 13 May at HELP Univ College at 5.30pm has been postponed indefinitely. However the winning entries will be
awarded their prizes at 3.00pm on the same day just before the screening
of the German Short Films. To recap, the winners are: First Prize (RM5,000) : TUESDAY
BE MY FRIEND by Chong Chan Fui Second Prize (RM3,000) : PUT
YOUR SCARF ON MY HEAD by Wee Han Wei Third Prize (RM2,000) : AN AFTERNOON
WITH THE HIJJABED by Wan Muhammad & Nadiah Hamzah Special Mention : FREE HAIR
by Azmad The prizes will be presented by Dr
Volker Wolf, Director of Goethe-Institut KL
ALL WELCOME TO ATTEND THE PRIZE-GIVING
AND STAY ON TO SEE THE FINAL INSTALMENT OF THE ACCLAIMED GERMAN SHORT FILM
SERIES -- FREE ADMISSION
http://www.bharian.com.my/m/BHarian/Thursday/Hiburan/20060511084552/Article/
Nukilan-nukilan pilihan:
"Ingat, Malaysia bukan saja didiami Melayu dan Cina. Filem Malaysia yang
sebenarnya harus ditunjukkan semua kaum yang ada di negara ini termasuk
masyarakat Iban atau Kadazanduzun, atau kaum Sikh dan Orang Asli juga
mesti dipaparkan jika kita mencari makna sebuah filem Malaysia."
Jadi... Dia tak akan buat bising ke kalau filem 'Sepet' tu percintaan
antara gadis Melayu dengan lelaki India?
--
"Filem Melayu juga adalah filem yang bercakap untuk bangsanya dan ia
seolah-olah menjadi imej filem Malaysia sejak dulu. Kaum lain boleh
teruskan buat filem bangsa sendiri. Tetapi jangan pula ada pihak cuba
menafikan atau memadamkan hak filem Melayu. Kita selalu terperangkap
dalam dilema kritikal, siapa prejudis siapa?"
Siapa pihak yang mahu memadamkan hak filem Melayu? Boleh sesiapa tolong
jelaskan siapa yang cuba dia maksudkan ni?
--
"Filem Cina Malaysia macam Beautiful Washing Machine atau filem India
Malaysia seperti Chemman Chaalai tetap filem dari Malaysia tetapi ia
bukan gambaran Malaysia sebenarnya. Jangan berhelah dalam perkara ini.
Dalam konteks ini dan berkait dengan Umno, ia bermakna filem Melayu
adalah filem nasional apabila kita merujuk kembali pada Dasar Kebudayaan
Kebangsaan."
Seriously... I still can't see how UMNO is connected to context. Boleh
sesiapa explain kat aku apa dia cuba cakap ni?
--
HARI ini, parti Melayu terbesar dunia, Umno diraikan. Usia Umno kini sudah
60 tahun. Sebagai parti yang menunjangi ketuanan politik dan kerajaan
Malaysia, ia harus dipertahankan demi masa depan bangsa dan negara. Ini
sejajar pesan Presiden Umno, Datuk Seri Abdullah Ahmad Badawi, apabila
beliau menyeru ahli Umno supaya mengambil semangat ulang tahun ke-60
parti itu dengan terus mempertahankan parti yang berdepan pelbagai isu
semasa dan semakin mencabar.
Umno bersama parti lain berjaya membentuk kesepakatan antara kaum, agama
dan keturunan - sekali gus menjadikan Malaysia unik dan harmoni sehingga
kini, selama Malaysia menikmati kemerdekaan negara. Ia membuktikan Melayu
dengan kaum lain termasuk Cina dan India hidup dalam lingkungan saling
menghormati dan harus diteruskan generasi baru tanpa bersikap prejudis
atau mencipta sensitiviti terhadap satu sama lain.
Begitu juga dunia filem Melayu, tidak wajar ada prejudis dari kaum lain
apabila Melayu mahu terus mempertahankan nama dan semangat filem Melayu
yang menjadi teras filem nasional selama ini. Filem Melayu bukan baru
berusia setahun dua, ia juga bukan lahir kerana racist terhadap Cina atau
India tetapi ia lahir atas sokongan kaum lain bersama Melayu yang menjadi
refleksi sinema Malaysia selama ini. Kerana bantuan kaum lainlah, filem
Melayu lahir pada era pramerdeka dan terus berkembang sehingga kini.
Sejak dulu lagi, filem Melayu ada memancarkan imej watak Melayu dan kaum
lain dalam filem. Malah, filem Melayu disokong kuat oleh pemodal Cina dan
tenaga kerja India.
Kita juga hairan sejak dulu lagi kenapa tidak ada pemodal mahu buat filem
mengenai masyarakat Cina, India atau kaum lain di Tanah Melayu. Shaw
Brothers dan Ho Ah Loke tetap mahu buat filem Melayu. Sekarang, tauke
Metrowealth, David Teo juga setia buat filem Melayu. Kita berbangga sebab
sekarang ada perhatian untuk mempelbagaikan filem Malaysia, maka lahirlah
filem yang memaparkan masyarakat Cina dan India sebagaimana dihasilkan
pengarah generasi baru.
Kita tertarik pada satu kiriman emel daripada Zulkifli Mohamad yang
mengaku filem Gubra sesungguhnya adalah filem Malaysia. Alasannya itu
mungkin kerana ada watak utama wanita Melayu dan pemuda Cina. Bunyinya
agak kelakar. Kenapa mereka tidak mahu mengiktiraf filem Sembilu 2005
sebagai filem Malaysia kerana ada beberapa kaum juga dipaparkan, begitu
juga filem lain seperti Buli, Hanya Kawan dan Tsu Feh Sofia, malah filem
Senario pun juga bukan sekadar tunjukkan imej watak Melayu.
Sebenarnya filem Melayu sejak dulu lagi, malah zaman P Ramlee (Gerimis dan
Sesudah Suboh) sudah pun ada semangat muhibbah dan perpaduan kaum yang
lebih menarik dan tidak sensitif terhadap umat Islam. Watak Melayu dan
Cina serta India sudah lama ada dalam filem Melayu. Jangan sengaja
menutup sejarah perfileman negara untuk mengatakan filem Melayu tidak
memancarkan imej Malaysia. Kata Zulkifli: “Dalam komponen
pembikinan filem di negara ini pada masa lalu, ia begitu muhibah kerana
Cina menjadi produser, India menjadi sutradara dan pelakonnya adalah
Melayu. Dan, sudah tentu Melayu yang mendapat glamor. Ia masih kekal
sebab Cina ada wang dan India ada kemahirannya. Sebab itu, adalah berbeza
apabila bercakap soal filem Melayu dengan filem Malaysia. Kita perlukan
satu definisi baru!”
Cuma, apabila ada pengarah generasi baru yang membuat filem mengulangi
cerita gadis Melayu dan Cina bercinta, mereka seolah-olah nampak itu satu
contoh filem Malaysia. Ingat, Malaysia bukan saja didiami Melayu dan Cina.
Filem Malaysia yang sebenarnya harus ditunjukkan semua kaum yang ada di
negara ini termasuk masyarakat Iban atau Kadazanduzun, atau kaum Sikh dan
Orang Asli juga mesti dipaparkan jika kita mencari makna sebuah filem
Malaysia. Kalau ada semua kaum di Malaysia dipaparkan dalam filem,
barulah tulen untuk diperoleh definisi filem Malaysia. Kerajaan tidak
pernah larang buat filem berkaitan kaum masing-masing. Buatlah.
Panggillah semua itu filem dari Malaysia, bukan saja hanya ada watak
Melayu dan Cina saja sudah dianggap filem Malaysia. Jangan nafikan hak
kaum lain.
Namun, filem Melayu sudah ada rekod laluan yang panjang. Tahun ini, filem
Melayu berusia 73 tahun. ia terus hidup dan akan terus dipertahankan.
Filem Cina Malaysia macam Beautiful Washing Machine atau filem India
Malaysia seperti Chemman Chaalai tetap filem dari Malaysia tetapi ia
bukan gambaran Malaysia sebenarnya. Jangan berhelah dalam perkara ini.
Dalam konteks ini dan berkait dengan Umno, ia bermakna filem Melayu
adalah filem nasional apabila kita merujuk kembali pada Dasar Kebudayaan
Kebangsaan.
Filem bercakap atas nama bangsa. Pengkaji filem terkenal, Van der Heide
juga mengaku sinema bermaksud bercakap mengenai sesuatu bangsa. Dalam hal
ini, kita merujuk kepada bangsa Malaysia yang ada banyak etnik, bukan satu
dua kaum terbesar dan ia harus berpegang pada prinsip Rukun Negara. Filem
Melayu juga adalah filem yang bercakap untuk bangsanya dan ia seolah-olah
menjadi imej filem Malaysia sejak dulu. Kaum lain boleh teruskan buat
filem bangsa sendiri. Tetapi jangan pula ada pihak cuba menafikan atau
memadamkan hak filem Melayu. Kita selalu terperangkap dalam dilema
kritikal, siapa prejudis siapa?
Filem Melayu tidak akan mati. Filem Melayu juga perlu seiring filem dari
kaum lain untuk sama-sama memeriahkan industri filem Malaysia. Umno
sebagai parti Melayu terbesar harus bertanggungjawab menjadikan filem
Melayu sebagai suara perjuangan bangsanya. Maka, perlu dibuat perancangan
bagi menghasilkan filem yang mengangkat tokoh nasionalis Melayu dan
menggerakkan misi serta aspirasi nasional. Sudah tiba masanya, Umno
melahirkan filem yang memaparkan perjuangan dan pahit getir pejuang
bangsanya demi mencapai kemerdekaan dan kini kemerdekaan itu turut
dinikmati sehingga generasi baru.
Kata orang, bangsa Melayu tak perlu semuanya jadi doktor gigi kalau mereka
dah berasa sakit gigi! - akmel@...
----------------------------------------------------------------
This e-mail has been sent via JARING webmail at http://www.jaring.my
Offline 
Send Email
Online Now 
