Filmografi ‘Anak Mami’ dan wacana keetnikan: Sebuah perspektif kritis

Translated title of the contribution: ‘Anak Mami’ filmography and the discourse of ethnicity: A critical perspective

Research output: Contribution to journalArticle

1 Citation (Scopus)

Abstract

The filmography of director A. Razak Mohaideen has suffered from almost two decades of chronic criticism for its apparent lack of quality and failure to raise the overall standards of Malay film despite enjoying several commercial successes. However, his filmography is arguably quite significant and rather interesting particularly as a discursive practice on the ethnicity and sustained sociocultural representation of the Jawi Peranakan ethnic community for more than a decade. As such, the persistence of A. Razak’s cinematic foray into the discourse of ethnicity is both empirically rare and unprecedented in Malay filmmaking practice. It thus begs the question: ‘What is with Jawi Peranakan?’. In order to appreciate this phenomenon, this article will attempt to explore the ‘Anak Mami’ filmography, which is a collection of romantic comedy films set in the parochial milieu of Pulau Pinang’s Jawi Peranakan society. This article seeks to deploy ethnic boundary as the analytical paradigm which may offer insightful perspective and theoreticality in negotiating with the representation of ethnicity today.

Original languageMalay
Pages (from-to)383-394
Number of pages12
JournalJurnal Komunikasi: Malaysian Journal of Communication
Volume33
Issue number1
Publication statusPublished - 2017

Fingerprint

ethnicity
discourse
persistence
director
criticism
paradigm
lack
community
Society

ASJC Scopus subject areas

  • Communication

Cite this

@article{1f987b7cc80f40fda1ee1fa6a565bf27,
title = "Filmografi ‘Anak Mami’ dan wacana keetnikan: Sebuah perspektif kritis",
abstract = "The filmography of director A. Razak Mohaideen has suffered from almost two decades of chronic criticism for its apparent lack of quality and failure to raise the overall standards of Malay film despite enjoying several commercial successes. However, his filmography is arguably quite significant and rather interesting particularly as a discursive practice on the ethnicity and sustained sociocultural representation of the Jawi Peranakan ethnic community for more than a decade. As such, the persistence of A. Razak’s cinematic foray into the discourse of ethnicity is both empirically rare and unprecedented in Malay filmmaking practice. It thus begs the question: ‘What is with Jawi Peranakan?’. In order to appreciate this phenomenon, this article will attempt to explore the ‘Anak Mami’ filmography, which is a collection of romantic comedy films set in the parochial milieu of Pulau Pinang’s Jawi Peranakan society. This article seeks to deploy ethnic boundary as the analytical paradigm which may offer insightful perspective and theoreticality in negotiating with the representation of ethnicity today.",
keywords = "Anak Mami, Ethnic boundary, Filmography, Jawi Peranakan, Malay film",
author = "{Abu Hassan}, {Badrul Redzuan}",
year = "2017",
language = "Malay",
volume = "33",
pages = "383--394",
journal = "Jurnal Komunikasi: Malaysian Journal of Communication",
issn = "2289-151X",
publisher = "Universiti Kebangsaan Malaysia",
number = "1",

}

TY - JOUR

T1 - Filmografi ‘Anak Mami’ dan wacana keetnikan

T2 - Sebuah perspektif kritis

AU - Abu Hassan, Badrul Redzuan

PY - 2017

Y1 - 2017

N2 - The filmography of director A. Razak Mohaideen has suffered from almost two decades of chronic criticism for its apparent lack of quality and failure to raise the overall standards of Malay film despite enjoying several commercial successes. However, his filmography is arguably quite significant and rather interesting particularly as a discursive practice on the ethnicity and sustained sociocultural representation of the Jawi Peranakan ethnic community for more than a decade. As such, the persistence of A. Razak’s cinematic foray into the discourse of ethnicity is both empirically rare and unprecedented in Malay filmmaking practice. It thus begs the question: ‘What is with Jawi Peranakan?’. In order to appreciate this phenomenon, this article will attempt to explore the ‘Anak Mami’ filmography, which is a collection of romantic comedy films set in the parochial milieu of Pulau Pinang’s Jawi Peranakan society. This article seeks to deploy ethnic boundary as the analytical paradigm which may offer insightful perspective and theoreticality in negotiating with the representation of ethnicity today.

AB - The filmography of director A. Razak Mohaideen has suffered from almost two decades of chronic criticism for its apparent lack of quality and failure to raise the overall standards of Malay film despite enjoying several commercial successes. However, his filmography is arguably quite significant and rather interesting particularly as a discursive practice on the ethnicity and sustained sociocultural representation of the Jawi Peranakan ethnic community for more than a decade. As such, the persistence of A. Razak’s cinematic foray into the discourse of ethnicity is both empirically rare and unprecedented in Malay filmmaking practice. It thus begs the question: ‘What is with Jawi Peranakan?’. In order to appreciate this phenomenon, this article will attempt to explore the ‘Anak Mami’ filmography, which is a collection of romantic comedy films set in the parochial milieu of Pulau Pinang’s Jawi Peranakan society. This article seeks to deploy ethnic boundary as the analytical paradigm which may offer insightful perspective and theoreticality in negotiating with the representation of ethnicity today.

KW - Anak Mami

KW - Ethnic boundary

KW - Filmography

KW - Jawi Peranakan

KW - Malay film

UR - http://www.scopus.com/inward/record.url?scp=85021260747&partnerID=8YFLogxK

UR - http://www.scopus.com/inward/citedby.url?scp=85021260747&partnerID=8YFLogxK

M3 - Article

AN - SCOPUS:85021260747

VL - 33

SP - 383

EP - 394

JO - Jurnal Komunikasi: Malaysian Journal of Communication

JF - Jurnal Komunikasi: Malaysian Journal of Communication

SN - 2289-151X

IS - 1

ER -