THE MALAYSIAN FILM INDUSTRY - NEW ASPIRATIONS.

I read this super duper article on theMalaysian Filmlandscapeand it's a rare insightful piece.I would love to share this information with all fellow film makers worldwide, just in case you may be looking at a joint-Malaysian collaboration in the near future.One can never really tell.Enjoy!The Malaysian Film Industry Originality Counts...Manjafilms Managing Director, Anwardi Datuk Jamil urged local filmmakers to look inwards for the their source and inspiration. Anwardi highlighted that because of their originality, the Americans have produced adaptations of movies from Japan, Korea and Thailand.By Mohd Azhar Ibrahim

KUALA LUMPUR, Dec 31 (Bernama) -- Malaysian filmmakers are mainly divided into two categories -- mainstream and independent film producers.

The tendency of the former to work in a closed grouping which excludes the non-conformist, to a certain extent hinders experimentation and innovativeness. However, the latter collaborate to write, produce, and even help finance each other's films.

Thus while the Malay-dominated mainstream film scene continues to be inundated with 'garden variety' fare skewed to Malay culture; more exciting things are happening in the independent film arena, which is equally represented in terms of ethnic groups.

Increasingly, these independent filmmakers have made their presence felt by winning awards at various international film festivals.

Nevertheless, Manjafilm's Managing Director, Anwardi Jamil noted that while the European and American viewers can easily differentiate films from other Asian countries that are screened at these festivals, our films are not easily identifiable as a Malaysian production because they lack that 'Malaysian' ambience.

"Look inwards for your source and inspiration, do not just borrow and adapt ideas from foreign productions," Anwardi urged.

However, the parameters of what constitutes a Malaysian film are not clearly defined.

"As long the producer is a Malaysian citizen, it is considered a Malaysian film," FINAS Director of Planning and Research, Balaraman Narayanasamy told this writer.

On the other hand, Film Directors' Association of Malaysia (FDAM) President, Ahmad Ibrahim stressed that in line with the 'Filem Kita, Wajah Kita' (Our Film, Our Image) mantra, a Malaysian film should be in the Malay language, with a Malay-majority cast.

While cultural diversity and ethnic plurality is aggressively being promoted in tourism billboards and brochures, why is there this assumption among some groups, that 'Our Image' is cohesive and homogenous?

When posed with this question, film producer Abdul Rahman Sallehudin concurred that there must be multi-ethnic characters in contemporary Malaysian cinema.

"It should reflect our culture and tradition, but only within the context of a multi-racial setting, and should not be dominated by any particular race," he added.

NEED FOR PROTECTION

Malaysian filmmakers generally feel that their contribution to the economy is neither well understood nor appreciated by consumers, most of whom appear to pay scant respect for intellectual property.

Producers are compelled to assign away their IP rights to private television stations that have the capacity to take their work to the market.

Advancement in digital content creation - while paving the way for innovative filmmaking - has also created unprecedented challenges for copyright law, challenging revenue raising models and resulting in far reaching effects across the creative industries.

The Video and Film Industry Association of Malaysia reportedly complained that CD pirates were sucking the life out of the film industry.

If we do not promote our filmmakers, ensure their long-term ability to create and grow and allow them to realise their full potential, we will have less and less people willing to turn their talents to this already difficult business -- and then we all lose out.

There need to be a solid legal foundation with respect to rights management to support these kinds of activities and to take full advantage of digital technologies.

Just because IP is not tangible, the general public perception is that it is not worthy of being protected or honoured in the same way we protect our physical assets. But IP infringement prevents the rightful owners from receiving credit and financial reward where it is due. People's earnings are hurt.

In cognisance of this fact, MyIPO plans to conduct seminars and workshops on how to negotiate IP rights - for filmmakers and the public alike, to raise public awareness of the fact that IP infringement is not a victimless crime.

GOVERNMENT SUPPORT

The challenges of developing local creative industries comprise funding, space facilitation, protection of intellectual property rights, skills training and business support.

Government support for the Malaysian film industry began when the National Film Development Corporation (FINAS) was established in 1981 to nurture, facilitate and promote the development of the Malaysian film industry.

FINAS introduced a 14-day compulsory screening of a local movie in cinemas, a 20 percent entertainment tax rebate for screening local films, apart from a RM50 million Fictional Film Loan Scheme (SPFC); a RM1.5 million Multimedia and Film Development Fund; plus a RM6.5 million Documentary Production Fund.

In addition, a four-storey state-of-the-art studio costing RM53 million called the Digital Mix Stage Studio is at the filmmaker's disposal.

On a sad note however, the much-touted E-Village Project launched in 2000 to turn Malaysia into a key film production hub in Asia; came to a sad standstill after the developer ran into financial problems.

NEW STIMULUS

In reaffirming the government's support for local creative industries, Prime Minister Datuk Seri Najib Tun Razak in his Budget 2010 speech, announced that a comprehensive Creative Industry Policy is in the works.

Also on the card are provisions for a RM200 million Creative Industry Fund and RM3 million Tabung Kebajikan Penggiat Seni (Arts Activist Welfare Fund).

However, in light of the string of non-performing loan under the SPFC scheme, industry players cautioned on the need to be more judicious and transparent in the selection and monitoring process with regard to the disbursement of these funds. The FDAM feel they can play a constructive role to in the selection process.

In addition, Information Communication and Culture Minister Datuk Seri Dr Rais Yatim recently announced that the Malaysian Communications and Multimedia Commission (MCMC) has allocated RM50 million for the making of local documentary films to be aired over Astro's Discovery and National Geographic channels.

To protect those who dedicate their talents and creativity to the industry, MyIPO has been entrusted to spearhead the review and revision of the Malaysia Copyright Act 1987, to provide for a heavier penalty for IP infringement as well as ensure the equitable implementation of the Act.

Further, the Ministry of Science, Technology and Innovations (MOSTI) and MyIPO will collaborate in appointing legal consultants to assist creators protect their IP rights.

The government will also establish a National Innovation Centre and a network of Centres of Innovation Excellence, to encourage creative and innovative solutions, which will lead to improvements in terms of efficiency in management and the delivery system.

THE ROAD AHEAD

The core driver for the Malaysian film industry lies in enabling and empowering the creative genius of people with imaginations. Creativity needs freedom to grow. Thus the censorship scissors need to be wielded with a more tolerant hand.

Towards this end, the Home Ministry has started a series of candid dialogues with FDAM to provide input for a revamp in film censorship.

Generous funding from the government is half the battle won, but the ability of both government authorities and industry leaders to generate collective action dynamics, set clear targets, devise the right strategy; and a single-minded drive to achieve these goals will help secure ultimate victory.

Spotting flaws in one's own work, and taking action to correct them, is a hallmark of creative people. Policy makers and industry players should recognise that while policy is always a 'top-bottom' prerogative, strategy should be developed from a 'bottom-up' approach. This way both parties will speak the same language and stay on the same page.

Finally, producers should stop churning out films without much concern for depth and quality: for in their hands - more so than politicians', lay the power to move the hearts and engage the minds of the people.

Undoubtedly, there is much discussion over what a Malaysian film should be.

The general consensus is that a Malaysian film should reflect how groups of different ethnic, religious and racial background mingle and participate in society; on the basis of acceptance and respect for cultural differences.

Film is the best medium through which we can showcase our culture and heritage. Hence, Malaysian films should be able to deliver subtle messages that tell the world who we are.

-- BERNAMA