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From mousedeer to mouse: Malaysian animation at the crossroads

2007; Routledge; Volume: 8; Issue: 2 Linguagem: Inglês

10.1080/14649370701238755

1469-8447

Hassan Abdul Muthalib,

Media, Gender, and Advertising

Abstract Abstract Long‐form animation began commercially in 1995 on a Government initiative. Since then, there has been an unprecedented production of animation for television and cinema, far surpassing several ASEAN countries that have studios providing animation services for foreign countries but do not have their own, homegrown series or features. However, Malaysian animation is at the crossroads. Even though foreign sales have been made, it is not cost‐effective for producers to continue making animation. The delay in approving contracts by the Government station (the only TV station that pays US$10,000 per episode), has caused some producers to fold up or downsize. The problem is further compounded with the large number of graduates entering the industry – with too few studios willing, or able, to employ them. More and more foreign TV series are flooding the TV channels. Action needs to be taken to prevent the animation industry from floundering. This paper will explore the state of the industry to see what needs to be done so that Malaysia will not lose out in the production of animation films and TV series featuring local stories and characters that can effectively reach out to young people and, at the same time, can appeal to a global audience. Notes 1. For a concise history of Malaysian animation, see Hassan Abd Muthalib and Wong Tuck Cheong (2002 Muthalib, Hassan Abd and Wong, Tuck Cheong. 2002. "'Gentle winds of change.'". In Being Becoming: The Cinemas of Asia, Edited by: Vasudev, Aruna, Padgaonkar, Latika and Doraiswamy, Rashmi. 301–328. New Delhi: Macmillan India. [Google Scholar]). See also Muliyadi Mahamood (2001 Mahamood, Muliyadi. 2001. "'The history of Malaysian animated cartoons'". In Animation in Asia and the Pacific, Edited by: Lent, John A. 131–150. London: John Libbey. [Google Scholar]). 2. Grace Dimaranen of Top Pegs in Manila produced the Philippines' first TV series, The Tutubi Patrol. The first feature done in the ASEAN region was in Thailand in 1979 by pioneer animator, Payut Ngaokrachang, entitled, Sudsakorn. It has never been seen commercially outside the country. Thailand has since come out with a second feature produced by Kantana. Singapore is at work on two features. 3. The majority of the studio heads interviewed were unhappy with the delay in the approval of the tenders that they had submitted to RTM. The uncertainty extended for months, resulting in the producers not being able to manage their monthly overheads. They had to downsize and restructure in order to survive. For example, Jutakira had to downsize their staff from 80 to only 12, Fine Animation, from 40, to just 5, and Makmur Megah, from 40 to 10. Since then, Makmur Megah has increased its staff to produce for international sales. 4. Fat Lizard and Alternatif Animation are two studios that have targeted a foreign market right from the start by maintaining a very high standard of design, story and animation. 5. This complaint also comes from some commercial production houses. The CEO of VisualXtreme, Dr Nik Marzuki Nik Muhamad says: 'Our universities are producing animators, but there is less emphasis in scriptwriting, direction, storytelling, and cinematography' (Email interview, 2 April 2004). However, Moon Chan Kien, CEO of mfx, has another opinion: 'We have some good colleges and we have some bad ones. There are enough well‐trained talents for us to work from' (Email interview, 4 April 2004). 6. Film equipment used by the British Army's Film Unit was bought by the British Military Administration to start the Unit. Among the equipment was an animation rostrum stand, light tables and an animation puncher. 7. The artwork and filming was done by Gillie Potter, a former British Army combat cameraman who became the first Art Director of the MFU. He taught the locals how to create titles, animation artwork and the use of the rostrum stand. Goh Meng Huat, who worked under him, was Malaysia's first animator and Potter's assistant and assisted in the making of the Cathay Organisation and Cathay‐Keris present titles. 8. This film was started in the early 1960s but was soon abandoned as there was a dearth of animators. Anandam Xavier, a set designer, was asked to take over. During his spare time, he designed the scenes, animated and even painted the backgrounds. In 1971, an order to complete the production resulted in the speeding‐up of work. The film was finally completed in 1978 but was not screened until 1983. Xavier is, in effect, Malaysia's first short‐film animation filmmaker. 9. The Mousedeer & Monkey (), The Arrogant Rabbit (), The Greedy Lion (), The Mousedeer & Crocodiles (), all written and directed by Hassan Abd Muthalib and The Clever Crow (Sulaiman ). 10. Lensamation was contracted by Japan's Toei to ink‐and‐paint their anime series. They went on to do in‐between animation. Training was provided by Toei, both locally as well as in their Tokyo studios. 11. The Mechanic (Mekanik) (Hafsham ), had a 5‐minute animated opening title sequence by Hassan Abd Muthalib and Norhan Mat. The Detective (Mat Gelap) (Al‐Bakri ) was also animated by Hassan and Norhan. It was the first film to have animated characters and the first to have an animation over live‐action sequences. 12. Written and directed by Kamn Ismail, it was about the adventures of a group of boys of various races in a village. Kamn was the person most responsible for initiating the expansion of TV animation series. In the early 1990s, he experimented and came up with a method to input drawings directly into the computer by drawing with the mouse, effectively saving time and money. 13. One of the feature films, Mann Spider and the Princess of Melaka, has still not been released. 14. The complete list: Usop Sontorian, Sang Wira, Anak‐anak Sidek, Edi & Cici, Badang, Rimba, Yokies, Frooties, Alif, Abang Sidi, Kenyalang, Keluang Man, Cik Nat, Wise Mise, Mergas‐tuah, Tok Tam, Ngat & Taboh, Tuah, EkoKops, Mr Ice, Bola Siber, Biru Sebijak Laut, Solar Ice, Beanos, Kacang, Toopye, TD2, Legenda Kinabalu, Toman and Kumang. Kampung Boy was developed and animated overseas. 15. For lack of a better term, I have used the term 'telemovie' to denote a film that is under an hour, but more than a half‐hour long. Kartini (Rekapintar), was never released as it was not up to standard. 16. Produced by Peninsula Pictures and directed by Hassan Abd Muthalib, it was about five school boys in 21st century Malacca who discover five magical weapons. Through the weapons' powers, they turn into superheroes. Syed Hassan al‐Mashoor, a Singaporean, was the Animation Director. 17. Produced by Eurofine and directed by Rashid Sibir, it was based on a local legend not unlike the story of Cinderella. The animation director was Jamil Ahmad, the only local animator who has worked on productions at Burbank and Hanna‐Barbera Studios in Australia. 18. Produced and directed by Kamn Ismail under his company, Quest Animation. 19. Silat cost about US$1.2 million to make but only grossed about US$200,000. Puteh cost about US$700,000 and grossed about US$200,000. Compared to Silat, the producers of Puteh spent a lot on marketing, but it didn't seem to have had an effect on audiences. 'If it's not Disney, it won't sell,' said a Cathay Organisation executive to me at a function at Cyberjaya, Malaysia, in 2001. Only Shrek, Ice Age and a few other films have made the kind of money Disney films make. 20. One reviewer from The Sun, even advised against seeing Silat Legenda. Surprisingly, the film garnered good reviews in a Singapore paper. Under the heading 'Silat Legenda is very special cartoon film,' the writer pointed out the many positive elements in the film, encouraging audiences to go and see it (Bachik 1998 Bachik, Hasleen. 5 September 1998. "'Silat Legenda is a very special animated movie'". In Berita Harian 5 September, Singapore [Google Scholar]). 21. FINAS sponsors a booth at major film markets, taking a big financial load off producers' shoulders. 22. To help students express themselves through animation, the MDC provided outright grants for the making of short films. The first phase was for animated shorts. The second phase was for live action. Rules were slightly bent to allow professionals also to obtain the grants as long as they used students in their productions. 23. The One Academy of Communication Design, GO Academy, and Kolej Yayasan Melaka. However, only The One and GO have full‐time courses with a film foundation. 24. The main reason why foreign productions are of much higher quality – but cost more to make. 25. LimKokWing Institute of Creative Technology. It no longer does. The Sheridan College conducts five courses taught over two semesters that include: Film Structure, Animation History and Styles, Drawing for Animation, Life Drawing and Animation Methodology. 26. The downside of this is that studios do not want to employ staff on a full‐time basis because of the high overheads. And even if they do, animators are paid very low salaries. This has led to disillusionment among many graduates and some of them have gone on to full‐time jobs unrelated to animation. 27. This is one of the things that has actually been spelt out in the nine challenges of the 'Vision 2020' concept. See Ahmad Sarji (1995). 28. Dr Mahathir, the former Prime Minister, has warned against this phenomenon in his speech at the official opening of the National Theatre (Mahathir 1999 Mahathir, Mohamad. 1999. 'Avoid copying artificial cultures' 'Hindari Budaya Ciptaan'. Utusan Malaysia, 16 September [Google Scholar]). 29. Lat related to me the great many problems he had while working with the studios in Los Angeles and Manila on the series. These studios had absolutely no idea about Malaysian culture and norms, and he had to literally draw many elements himself to make sure that they correctly reflected the Malaysian people and their lifestyle. However, it has been applauded by Matt Groening, creator of The Simpsons: 'I've been a fan of Lat's comic book series for 15 years and the show really captures its lively, fun spirit' (from the Kampung Boy website). 30. I now teach the method at the National Arts Academy of Malaysia. 31. Dr Anuar Nor Arai, Film Director/Writer and former Associate Professor at the University of Malaya, concurs (personal interview, 2001). He believes that the only way Malaysian films can make it in the international scene is to have a few directed by international names. 32. Zhang is the first Malaysian student to make a short animation film. He decided to use animation for his graduation film while studying at the Film Academy of Malaysia. 33. Alan was hardly taught anything about animation in the college. In the first year, he studied music, theatre, literature and philosophy. 'The idea was to turn out animation filmmakers, not animators,' he said in an interview with me (personal interview 2000). 34. Tan did extensive research for the story of a solitary old Malay man returning to his ramshackle hut and preparing to go to the Friday Muslim prayers. His attention to detail shows his strength in narrative, design and technique. For a Chinese – and a student at that – this sensitivity to a Malay and his milieu augurs well for the industry. 35. Wayang Kulit is the precursor of animation (and film) in the world, originating about 600 years ago. This fact has been recognized in the West and the first exhibit at the Museum of the Moving Image in London is a wayang kulit. 36. Most notably, at the annual Malaysia Video Awards in Kuala Lumpur, and at the Malaysia Film Club at HELP Institute, Kuala Lumpur. Universities and colleges have annual graduation shows that are also attended by studios on the look‐out for talented animators. 37. Commercial studios such as Optidigit, Flare, Persistence of Vision, and mfx employ many graduates to work on foreign TV series as well as commercials. The exposure is a tremendous boost for the young animators. A few TV series meant for the overseas market are currently in production by EL Videographics and Inspidea. Syed Abd. Razak of Sidefx is developing a feature film for an animation studio in Saudi Arabia. Steve Bristow (Animation Director), and Bernice Low (Scriptwriter), have completed a pilot for a TV series, and the MDC is at work on a major production called Saladin, which will showcase the talents of local animators and companies. 38. 'Film Animation for Development: Report from UNICEF's Caribbean Area Office, 1999. 39. It was previously the Arts, Culture and Tourism Ministry. FINAS is now placed under this Ministry.