Analyzing the First Malaysian Animated Film Hikayat Sang Kancil

Azahar Harun
Faculty of Art & Design Universiti Teknologi MARA Shah Alam, Malaysia

Russlan Abd Rahim

Faculty of Art & Design Universiti Teknologi MARA Shah Alam, Malaysia

AbstractIn this paper, we present the results of the case study of the first Malaysian animated film entitled Hikayat Sang Kancil (1983) or The legend of the Mousedeer. Basically our aim is to establish understanding regarding the visual conventions (cinematic elements, animated characters and visual metaphors) that are employed by the animator, Anandam Xavier. In order to make inference about the conventions, we approached mix methods, content analysis and compositional interpretation. To add more depth to the study, we also gathered information through interview with two animation pioneers of Filem Negara Malaysia, Goh Meng Huat and Hassan Abd Muthalib. Our analysis reveals that HSK not only features anthropomorphic animals with local style but also contain latent visual metaphors. These elements in a way help create a look of the animation. We hope that the findings will provide valuable source of reference for creative societies especially film historian, animator and art & design students in Malaysia. Keywords-Hikayat Sang Kancil (HSK); Filem Negara Malaysia (FNM); Cinematic elements; Animated Characters; Visual Metaphors

I. INTRODUCTION In 1983, the ministry of information of Malaysia gave permission to release a 13 minute animated film entitled Hikayat Sang Kancil (HSK) [1]. Based on a classic Malay folktale, this animated film is the first to use Malay medium. This strategy certainly has given benefit to Malaysian viewers in various aspects. As what Malaysian renowned cartoonist Datuk Lat puts it, Malay medium makes it easier for children to understand what the cartoons intend to convey [9]. Adding to this, Malaysian politician also found that foreign animations contain elements that contradict with Malaysian lifestyle [9]. To overcome this problem, in 1990s, the ministry of information took a step ahead by offering contract to few capable companies to produce local animation. Consequently this move has lead to the development of Malaysian Animation Industry [9]. II. BRIEF HISTORY

According to Hassan Abd Muthalib, it is believed that the Director General of Malayan Film Unit, Tom Hodge (1952 to 1957), had taken the important step by

instructing the staff of art department to produce cartoon animation (personal communication, November 14, 2008). Tom Hodge also suggested that the animation should be based on one of the short stories compiled and edited by ex Malayan serviceman, Walter S. Skeat. The story is called How Friend Peace Saved Friend Buffalos Life. Despite the lack of knowledge and experience in animation production, the ground work for the project was carried out (Goh Meng Huat, personal communication, Sept 12, 2008). At first it was handled by an editor named Wong Khye Weng. However, since Khye Weng could not draw, the project was passed to Cheong Lai Tong. Cheong Lai Tong is a renowned fine artist in Malaysia. His famous work, which is a giant mural painting, can be seen on the National Museums facade. In spite of making good progress, Lai Tong did not complete the job. He resigned to join Rothman cigarette company. The animation project came to a stop. In 1963, Malayan Film Unit was officially known as Filem Negara Malaysia (FNM). The agency is now located at Jalan Utara, Petaling Jaya, Selangor Malaysia. The new building also equipped with state of the art facilities including a new animation studio. At this point the Director General, Mohd Zain Hussin urged the art department staffs to gear up and make use of the new equipments. He then instructed the staff of art department to complete the animation of HSK. At this point, an unemployed graphic artist, Johan Ariff who came for job interview was hired as part time animator (Goh Meng Huat, personal communication, September 10, 2008). He was given a task to complete two and half minute animation within 3 months. For each minute, Johan was paid RM500. Johan Ariff had managed to animate several animated characters including the panther on a three, a monkey swinging through the trees and the mousedeer walking. Unfortunately, Johan Ariff also left the art department to join Radio Televisyen Malaysia (RTM). Then in mid 1970s, the Director General, John Nettleton had ordered that the animation project to be resumed. Anandam Xavier was assigned to complete the job. This time the project was made official. Anandam Xavier was given several helpers including a daily paid technician Sharifuddin Kahar and film editor A. Suppiah. According

to Hassan Abd Muthalib, although Anandam Xavier had all the facilities, most of the crucial jobs such as character design, storyboard, and background painting are done by him. He completed the work in 1978. However, the ministry of information at that time rejected the animation because its quality was poor. As a result, HSK was shelved at the information department. In 1983, the Director General, Aziz Wok, showed the animation to the new appointed minister of information, Datuk Mohd Adib Mohd Adam. He was impressed by the animation and gave permisiion to release it for public viewing. A. Problem Statement According to Hassan Abd Muthalib (personal communication, November 14, 2008), HSK was premiered on RTM once during Muslim festive day of Hari Raya Puasa in 1983 and never to be seen again ever since. Because of this, we argue that a lot of issues concerning its value in terms cinematic style, animated characters and symbolic meaning are buried and remain unknown to the public. Majority do not know that the animated film exist since they have no access to the material. Therefore it is hoped that this study will fill the gap in the history of Malaysian Animation and provide valuable reference for creative societies such as film historian, animation enthusiast and art & design educators in Malaysia. B. Research Questions The followings are the research questions for this study. 1) How the cinematic elements affect the visual presentation of HSK? 2) What do the animated characters represent in HSK? 3) What are the visual metaphors in HSK? C. Objective The main objective of this study is to analyse Hikayat Sang Kancil animation in context of cinematic elements, anthropomorphism and visual metaphor. D. Methodology This case study uses mix method which comprises content analysis [15] and compositional interpretation [7]. In the first stage, we deconstructed (extracted) the sample video into individual units (shots) using an annotated video analysis software called Kinovea. We scrutinized each shot and identify the cinematic elements. Each of the elements were coded based on their specific functions. The codes are Pace, Setting, Scene, Camera Movement, Camera Shot, Camera Angle and Graphic Effects. Next we devised an instrument called Shot by Shot Analysis Worksheet. For each of the codes, we assigned numerical value. For example, Exterior Setting:1, Interior Setting:2, and Abstract Setting: 0. Subsequently, we measured the categories by simply

counting the number of times they are detected in a shot. The collected data is then analyzed and processed using spread sheet program. The results are displayed in table format. In the second stage, we approached compositional interpretation method [12]. This method enables us to interpret the visual metaphors (semiotics) that are found in the animation. III. LITERATURE REVIEW Animation has always been recognized as a medium that portrays humanlike character of talking animals, robot and superheroes. This approach may well be linked with a theory of perception called Anthropomorphism [5]. The term anthropomorphism originally derives from two Greek words; anthropos meaning human and morphe meaning shape form [4]. This perception is also familiar in context of theology science [2]. According Fisher some religions associate supernatural being (gods) in literal human form [6]. For instance in Greek mythology, the god of sky and thunder named Zeus is portrayed as human [12]. However in Islam the portrayal of god in human form is strictly prohibited. In The Void in Islamic Art, Titus Bukhardt notes that anthropomorphism is seen as the mark of the error of associating the relative with the absolute or in Islam is referred as the sinful act of shirk [4]. Shirk is an Arabic word which describes sin of polytheism which believes there is more than one god. In context of animation, anthropomorphism does not serve religious purpose; rather it is used as key element to create animation. According to Joost Rekveld, one of the challenges of animation craft is to know how to humanize non-human subjects by giving the motion qualities that people can relate to [17]. In Understanding Animation, Paul Wells, states that anthropomorphism (personification) is about trying to create fresh image forms while still providing empathetic or identifiable human aspects [16]. He states that by using familiar human aspects, animated character can be more receptive and recognizable. Given this in mind, many anthropomorphic characters especially animals have born into the mediated world and dominate the current scene of popular culture. Mickey Mouse, Bugs Bunny, Wile E Cayote and Pink Panther are among the anthropomorphic animals that are still favored by many audience. Scholar states that anthropomorphic characters have a powerful drive to engage audience and invoke emotional response. Nikki Atkinson offers this view: animals create great empathy in human this empathy can be combined with a simplified narrative to provoke genuine feeling from audiences[2]. Study by Muliyaddi Mahmood, also shows that some Malay cartoonists during British colonial period used to portray anthropomorphic animals to promote anti-western and criticize the Malay people who were fascinated by the western culture [10]. As far as the history of Malaysian Animation is concerned, anthropomorphism is the key concept adopted

in the first Malaysian animated film Hikayat Sang Kancil. It aims to promote good behavior and deliver message regarding the importance of being careful and vigilant. It also reminds viewer regarding the paradox of Kindness vs. Cruel that is found in human nature. Muliyaddi Mahamood asserts that HSK animation used animals as allegory to convey didactic message [9]. IV. THE NARRATIVE STRUCTURE Generally, the narrative structure of HSK animation can be divided into three sections: setup, conflict and resolution. The setup is where all of the characters and their basic situation are introduced. This is shown in the beginning part where all animals living peaceful and coexisting with nature. A problem is also introduced which drive the story forward. This is observed in a scene when a sound coming from a panthers roar scares off small animals and disrupts the peaceful and tranquility. The second part, the conflict, is the bulk of the story. This is where Sang Bedal (the crocodile) attempts to eat Sang Sempuh (the buffalo); this inciting incident sets things into motion. The third part, or resolution, is when the problem in the story boils over, forcing the characters to confront it, allowing all elements of the story to come together and inevitably leading to the ending. Sang Kancil (the mousdeer) enters the scene and asks Sang Sempuh what had happened. Sang Sempuh explains that he had lifted a heavy branch off Sang Bedals back to set him free. But instead of repaying his kindness, Sang Bedal suddenly bites Sang Sempuh by the hoove. After listening to the story, Sang Kancil sets up a clever plan by asking Sang Sempuh and Sang Bedal to demonstrate the scene again. The animals agree and proceed without questioning. After the heavy branch is placed upon Sang Bedals back, Sang Kancil tells Sang Sempuh to leave the scene. Knowing that he had been tricked, Sang Bedal begs Sang Kancil to set him free. Sang Kancil just laugh and tells Sang Bedal that he deserves the punishment for repaying ones kindness with unkindness. .III. FINDINGS AND DISCUSSION A. How the cinematic elements affect the visual presentation of HSK? In this section we discuss the results from the content analysis. 1) Pace The duration of HSK is 13 minutes and within that, we extracted n=108 shots for an average shot length (ASL) 6.8 sec. The shortest shot is 1 sec and the longest is 40 sec. In Fig. 1, we found that four shots are the longest. These shots are shot #6, shot 15, shot #83, and shot #97). These shots epitomizes important event in HSK; Shot # 6 establishes the story; Shot # 15 introduces the hero (Sang Kancil); Shot #83 shows the hero trying to

resolve conflict and finally shot #97 shows how the conflict is resolved. Most shots that last between 1 sec to 3 sec are used to highlight facial emotions. Shots that are more than 5 sec to 10 sec normally emphasizes character in motion (i.e walking, jumping, falling).

Figure 1

2) Setting The setting of HSK consists of Interior (2.7%), Exterior (96%), and Abstract (0.9%). The exterior setting which is the dominant element mainly portrays lushes tropical rainforest. This is observed through the drawing of tall trees and shady atmosphere which enhance the feeling of peace and serene. The interior setting appears in the live action segment only for a short while. It shows a living room of a traditional Malaysian house with Malay crafts which are used as decorative items. These include a gong, brass cutlery and miniature boats. However a traditional straw mat which the local called Tikar Mengkuang is the center of attention. The abstract setting is a plain color which is used as background screen for title presentation.
TABLE I. No 1 2 3 Interior Exterior Abstract Setting SETTING N (108) 3 104 1 % 2.7 96.2 0.9

3) Scene The scene in HSK contains Animation (94.4%), Live action (4%) and Static (1.8%). The Animation scene involves animated characters, camera movement and special effect. The Live action contains live actors in real setting. The Static scene contains only opening title.
TABLE II. No 1 Animation Scene SCENE N (108) 102 % 94.4

No 2 3 Live Action

Scene

N (108) 4 2

% 3.70 1.85 No 1 2

TABLE V. CameraAngle High Angle Eye Level View Straight-On-Angle Low Angle View Over Shoulder View Subjective View Screen

CAMERA ANGLE N (108) 2 4 41 52 5 1 2 % 1.85 3.70 37.9 48.1 4.62 0.92 1.85

No Activity/Static

4) Camera Movement HSK employs very limited camera movement techniques. They include Zoom (0.9%); Track/Dolly (2.7%); Tilt (0.9%) and No Movement (95.3%). This means that camera movement technique is not regarded as an important feature. The reason is because camera movement only works in live action setting. The camera movement in animation is only virtual.
TABLE III. No 1 2 3 4 Zoom Track/Dolly Tilt No Movement CAMERA MOVEMENT N (108) 1 3 1 103 % 0.92 2.77 0.92 95.3

3 4 5 6 7

7) Graphic Expression Effect There are five types of graphic expression effect that are used in HSK: Smoke effect (Figure 2); Motion Lines Effect (Fig. 3); Circling Stars Effect (Fig. 4); Tear drops effect (Fig. 5&6) and Sparkling effect (Fig. 7). The Smoke Effect appears twice. The first time is when the squirrel exits the scene and the second is when the monkey fell on the ground. This expression suggests speed and sudden impact. The motion lines effect appears when the monkey bounces off Sang Bedal (the crocodile) (Fig. 3). This expression also signifies speed. The Circling Star Effect which appears above the head of the monkey suggests disorientation and confusion. The tear drop effect also appears twice. The first time is when Sang Bedal cries when a heavy branch fell on it and the second time is when Sang Sempuh (the buffalo) calls for help. The Tear Drops Effect suggest sad and pain. The sparkling effect is used to give emphasis to Sang Sempuhs big horns (Fig. 7). This effect signifies new and valuable.
TABLE VI. GRAPHIC EXPRESSION EFFECT N (108) 2 2 2 1 1 % 1.85 1.85 1.85 0.92 0.92

Camera Movement

5) Camera Shot HSK employs various camera shots which include Extreme Close-Up (0.9%); Close Up (43.5 %); Medium Close Up (10.1%); Medium Shot (18.5%); Long Shot (13.8%); Extreme Long Shot (11.1 %) and Not applicable (1.8%). From this, Close Up shots are the dominance camera shot which are used to highlight facial expression of the animated characters.
TABLE IV. No 1 2 3 4 5 6 7 Camera Shot Extreme Close Up (ECU) Close Up (CU) Medium Close up (MCU) Medium Shot (MS) Long Shot (LS) Extreme Long Shot (ELS) Not Applicable CAMERA SHOT N (108) 1 47 11 20 15 12 2 % 0.92 43.5 10.1 18.5 13.8 11.1 1.85

No 1 2 3 4 5

Graphic Expression Effect Smoke effect Motion line effect Tear drops effect Circling star effect Sparkling effect

6) Camera Angle Camera angle is an important technique which reinforces HSK visual presentation; High Angle (1.8%); Eye Level View (3.7%); Straight-On-Angle (37.9%); Low Angle View (48.1%); Over Shoulder View (4.6%); Subjective View (0.9%) and Screen (1.8%).

Figure 2

Figure 3

Figure 4

Figure 5

and crawls. Unlike the buffalo, Sang Bedal symbolizes slyness and ruthless. Tikar Buruk or the Old Mat is a strange character (Fig. 11). In shot # 75, it changes itself from an inanimate subject (lifeless) into an Anamophic character with face, eyes, mouth and speech ability. In the story, Tikar Buruks character signifies sad, underappreciated and frustration.
TABLE VII. No 1 2 3 4 Signifier Bird Butterfly Deer Panther Squirrel Monkey Buffalo Crocodile Mousedeer The Old Mat ANIMATED CHARACTERS Category Zoomorphic Zoomorphic Zoomorphic Zoomorphic Zoomorphic Zoomorphic Anthropomorphic Anthropomorphic Anthropomorphic Anamorphic Signified Freedom, Love Peace and Calm Grace, Beauty Danger, Comedy, Vulnerable Comedy, Chaos Stupid, Kind Danger, Cruel Wisdom, Kind, Witty Sad, Frustration

Figure 6

Figure 7

5 6 7 8 9 10

B. What do the animated characters represent in HSK ? The animated characters in HSK can be classified in three different categories: Zoomorphic; anthropomorphic and Anamorphic. According to Richard Zakia these categories differ in form and meaning [18]. Zoomorphic means having animal characteristic; anthropomorphic means having human characteristic and anamorphic means having distorted (mysterious) form. However, the animation concentrates on three main characters; the hero, the villain and the victim. In this story Sang Kancil is portrayed as the hero, Sang Bedal is the villain and Sang Sempuh as the victim. There is also another strange character, the Old Mat. In classic Malay literature the word Sang is used like a prefix or title to a person usually prominence figure (for instance the prince from Java who founded Singapore was called Sang Nila Utama). Significantly, the word Sang is also used for the three main characters; Sang Kancil (the mousedeer), Sang Bedal (the crocodile), Sang Sempuh (the buffalo). The use of Sang suggests that the characters have humanlike personality. However the character Tikar Buruk (The Old Mat) does not have the word Sang. In terms of character design, Sang Kancil appearance resembles Bambi (1947), an animated character of Disney animation. From a formal perspective, Sang Kancil appears to be weak. However, as the story progress, audience will notice that Sang Kancils strength lies in its wit. On the other hand, Sang Sempuh is depicted as a big and strong animal (Fig. 9). Its legs are slightly shorter which makes it look clumsy when it walks. Sang Sempuhs valuable possession is its beautiful horns which are useful for lifting heavy load but not for self defense. Overall, Sang Sempuhs character symbolizes sincere, innocent but stupid. Sang Bedal has a menacing and violent look (Fig. 10). Its eyes are big and located in front like that of human face. In the cartoon animation, Sang Bedal only swims

Figure 8

Figure 9

Figure 10

Figure 11

C. What are the Visual Metaphors of HSK? In the animation segment, we found several interesting visual metaphors. In shot #14, Sang Kancil appears behind two trees that bend in opposite direction. This formation resembles V sign (Fig. 12). The V sign has significant meaning in cultural context [13]. A good example is when former British Prime Minister, Winston Churchill flashed V sign with his two fingers to mean victory during World War II era [3]. In line with this, the shot that show Sang Kancil behind the V sign trees signifies Sang Kancil as the Victor. In contrast Sang Sempoh (the Buffalo) appearance is humiliating because

its back side is facing audience and higher than its head (Fig.13). This suggests that Sang Sempoh is unintelligent and dumb. In the case of Sang Bedal (the crocodile) (Fig.14), there is an ambiguous image of a skull on the left screen. Sang Bedal head is looking left side and his true character is reflected by the image of a human skull.

REFERENCES
[1] Ahmad Rafi (2008). Digital Animation Curriculum: A Multimedia University Experience .A seminar on Planning Development of Animation Education in Malaysia ASWARA, Kuala Lumpur, 21-22 January 2008 Atkinson, N. (n.d). The use of Anthropomorphism in the Animation of Animals: What Animators Should Know. Axelrod, A. (2009). Winston Churchill, CEO: 25 Lessons for Bold Business Leaders (pp.225). New York: Sterling Publishing Co Burckhardt, T. (1970). The Void in Islamic Art. Studies in Comparative Religion, 4(2) World Wisdom Epley, N., Waytz, A., & Cacioppo, J. T. (2007). On Seeing Human: A Three-Factor Theory of Anthropomorphism [Electronic version]. Psychological Review, 114(4), 864-886. doi:10.1037/033-295X.114.4.864 Filem Negara Malaysia. Retrieved in Dec 2008, from http://www.filemnegara.gov.my/m_home/index.php?cont=c1& item=i2&sstr_lang=en&c0de=default&id Fisher, J. A. (1996). The Myth of Anthropomorphism. In M. Berkoff & D. Jamieson (Eds.), Reading in Animal Cognition (p. 3). MIT Press. Jabatan Penyiaran Malaysia (2008). In Kertas Kerja Sesi IV: Seminar Pendidikan Animasi Malaysia, 22 Januari 2008. ASWARA, Kuala Lumpur Mahamood, M. (2001). The History of Malaysian Animated Cartoons. In J. A. Lent (Ed.), Animation in Asia and the Pacific (pp. 133-134). Bloomington: Indiana University Press. Mahamood, M. (2001). The History of Malay Editorial Cartoons (1930s-1993). (pp. 24). Kuala Lumpur: Utusan Publication & Distribution Sdn Bhd Muthalib, H. A. (2007). From Mousedeer to Mouse: Malaysian Animation at The Crossroads. Inter.Asia Cultural Studies, 8(2), 288-297 Monaco, J. (1998). How to Read a Film: The World of Movies, Media, and Multimedia Art, Technology, Language, History, Theory (pp. 134-136). New York: Oxford University Press. Mooij, M. K. de (2010). Global Marketing and Advertising: Understanding Cultural Paradoxes.(pp.55). California: Sage Publications Loewen, N. (1999). Zeus. Minnesota: Capstone Press Rose, G. (2007). Visual Methodologies: An Introduction to the Interpretation of Visual Materials (Second ed. , pp. 67-71). London: Sage Publications. Wells, P. Routledge (1998). Understanding Animation. London:

[2] [3]

[4]

Figure 12

[5]

[6]

[7]

Figure 13

[8]

[9]

[10]

Figure 14

[11]

IV. CONCLUSION In conclusion, HSK offers a different look and feel of local animation. The animation engages viewers attention to the three main anthropomorphic characters, Sang Kancil (the Mousedeer), Sang Sempuh (the buffalo) and Sang Bedal (the crocodile). The animation has also successfully creates tension by highlighting conflict between Sang Sempuh and Sang Bedal. This suits well with the theme of Kindness is repaid by Unkindness. In addition, HSK also contains some interesting visual metaphors. Sang Kancil enters the screen behind two trees that form a shape of a letter V. Sang Bedal appearance has a humiliating look; its back side is facing viewer and higher than its head. This form suggests that Sang Bedal is dumb. However the ambiguous image of the skull that appears in the introduction of Sang Bedal can be regarded as the most interesting visual metaphor. In the scene, Sang Bedal looks to the left while an ambiguous image of a skull looks to the right. This metaphor signify negative such as death, danger and evil.

[12]

[13]

[14] [15]

[16] [17]

Wells, P., Hardstaff, J. (2008). Re-imagining Animation: The changing face of the moving image (pp. 116-117). Lausanne: AVA Academia Zakia, D. R. (2001). Perception and Imaging (p.126) Boston: Focal Press.

[18]