Finally, this article will evaluate Khan's belief in the relevance of social realism as a philosophical interpretation for an ideologically driven cinema-of-intent and whether or not it can serve as a framework for the future of Malaysian cinema.Ĭultivation research has identified several misrepresentations on television and has shown that the more people watch television, the more their beliefs correspond to the television world. This article then revisits Khan's scholarship on Malay cinema, particularly the factors shaping his 'true picture' idealism in the context of emerging Malaysian cinema in terms of it as a developmental and critical sphere of cosmopolitan aesthetics. Comparatively, Khan's conceptualization is juxtaposed in this article for a critical appraisal between the influential Australian and British cinema contexts, as both are forms of national cinemas in their own rights. Khan's seminal work is located within the critical debates on the notion of national cinema that preoccupied film scholars, predominantly in the West, from the mid 1980s through the 1990s. One of the most important works on Malaysian cinema of the last twenty years has been Hatta Azad Khan's The Malay Cinema (1997).
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