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REPRESENTATION OF 'OTHER' IN MALAYSIA FILM: KADAZANDUSUN IDENTITY IN SABAH INDIGENOUS TELEMOVIE

Malaysia, as a multicultural society, is made up of various ethnic groups with diverse backgrounds. From a national perspective, the need for racial integration into a single national identity is critical in order to structure unity among Malaysians. Under the strict supervision of the local gover...

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Main Authors: Sydney Thomas, Sibangan, Teo, Miaw Lee, Candida Jau, Emang
Format: Article
Language:English
Published: Aliva Global Research and Development 2021
Subjects:
NX Arts in general
Online Access:http://ir.unimas.my/id/eprint/37031/1/Candida%20JauEmang.pdf
http://ir.unimas.my/id/eprint/37031/
https://www.nveo.org/index.php/journal/issue/view/29
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spelling my.unimas.ir.370312021-12-09T01:28:41Z http://ir.unimas.my/id/eprint/37031/ REPRESENTATION OF 'OTHER' IN MALAYSIA FILM: KADAZANDUSUN IDENTITY IN SABAH INDIGENOUS TELEMOVIE Sydney Thomas, Sibangan Teo, Miaw Lee Candida Jau, Emang NX Arts in general Malaysia, as a multicultural society, is made up of various ethnic groups with diverse backgrounds. From a national perspective, the need for racial integration into a single national identity is critical in order to structure unity among Malaysians. Under the strict supervision of the local government, a film in Malaysia plays an important role in incorporating the diverse society by portraying the accepted Malaysian national identity. However, the concept of national identity is based on an 'imagined' assumption because Malaysian national cinema is dominated by and exclusively represents the Malay majority. As a result, there is a lack of representation in film for 'other' ethnic groups, particularly Sabah's indigenous people. Using Benedict Anderson's theoretical framework of "imagined communities," this paper attempts to situate Sabah indigenous film within the context of Malaysian national cinema and argue the distinction of self-identification possessed by the Sabah indigenous. This is accomplished by examining two Alfred Ujin-produced Kadazandusun telemovies. The paper concludes that indigenous ethnic groups in Sabah identified themselves independently of national identity. Indigenous filmmakers used film to express their identity by depicting indigenous language, culture, and values. Aliva Global Research and Development 2021 Article PeerReviewed text en http://ir.unimas.my/id/eprint/37031/1/Candida%20JauEmang.pdf Sydney Thomas, Sibangan and Teo, Miaw Lee and Candida Jau, Emang (2021) REPRESENTATION OF 'OTHER' IN MALAYSIA FILM: KADAZANDUSUN IDENTITY IN SABAH INDIGENOUS TELEMOVIE. Natural Volatiles & Essential Oils (NVEO), 8 (4). pp. 10281-10290. ISSN 2148-9637 https://www.nveo.org/index.php/journal/issue/view/29
institution Universiti Malaysia Sarawak
building Centre for Academic Information Services (CAIS)
collection Institutional Repository
continent Asia
country Malaysia
content_provider Universiti Malaysia Sarawak
content_source UNIMAS Institutional Repository
url_provider http://ir.unimas.my/
language English
topic NX Arts in general
spellingShingle NX Arts in general
Sydney Thomas, Sibangan
Teo, Miaw Lee
Candida Jau, Emang
REPRESENTATION OF 'OTHER' IN MALAYSIA FILM: KADAZANDUSUN IDENTITY IN SABAH INDIGENOUS TELEMOVIE
description Malaysia, as a multicultural society, is made up of various ethnic groups with diverse backgrounds. From a national perspective, the need for racial integration into a single national identity is critical in order to structure unity among Malaysians. Under the strict supervision of the local government, a film in Malaysia plays an important role in incorporating the diverse society by portraying the accepted Malaysian national identity. However, the concept of national identity is based on an 'imagined' assumption because Malaysian national cinema is dominated by and exclusively represents the Malay majority. As a result, there is a lack of representation in film for 'other' ethnic groups, particularly Sabah's indigenous people. Using Benedict Anderson's theoretical framework of "imagined communities," this paper attempts to situate Sabah indigenous film within the context of Malaysian national cinema and argue the distinction of self-identification possessed by the Sabah indigenous. This is accomplished by examining two Alfred Ujin-produced Kadazandusun telemovies. The paper concludes that indigenous ethnic groups in Sabah identified themselves independently of national identity. Indigenous filmmakers used film to express their identity by depicting indigenous language, culture, and values.
format Article
author Sydney Thomas, Sibangan
Teo, Miaw Lee
Candida Jau, Emang
author_facet Sydney Thomas, Sibangan
Teo, Miaw Lee
Candida Jau, Emang
author_sort Sydney Thomas, Sibangan
title REPRESENTATION OF 'OTHER' IN MALAYSIA FILM: KADAZANDUSUN IDENTITY IN SABAH INDIGENOUS TELEMOVIE
title_short REPRESENTATION OF 'OTHER' IN MALAYSIA FILM: KADAZANDUSUN IDENTITY IN SABAH INDIGENOUS TELEMOVIE
title_full REPRESENTATION OF 'OTHER' IN MALAYSIA FILM: KADAZANDUSUN IDENTITY IN SABAH INDIGENOUS TELEMOVIE
title_fullStr REPRESENTATION OF 'OTHER' IN MALAYSIA FILM: KADAZANDUSUN IDENTITY IN SABAH INDIGENOUS TELEMOVIE
title_full_unstemmed REPRESENTATION OF 'OTHER' IN MALAYSIA FILM: KADAZANDUSUN IDENTITY IN SABAH INDIGENOUS TELEMOVIE
title_sort representation of 'other' in malaysia film: kadazandusun identity in sabah indigenous telemovie
publisher Aliva Global Research and Development
publishDate 2021
url http://ir.unimas.my/id/eprint/37031/1/Candida%20JauEmang.pdf
http://ir.unimas.my/id/eprint/37031/
https://www.nveo.org/index.php/journal/issue/view/29
_version_ 1718930136992055296
score 13.211869

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