sexuality in malaysian films: an exploration

SEXUALITY IN MALAYSIAN FILMS: AN EXPLORATION

Sexuality in Malaysian Films: An Exploration

Putri Tasnim Mohd Arif

Maszalida Hamzah

Faculty of Artistic & Creative Technology

University Technology MARA, MALAYSIA

Tel: +6016-6387775/+60122511387

email: [email protected] / [email protected]

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mailto:[email protected]%20/


1.0 Introduction

'Sexuality is the core necessity for all humankind. It is part of the phases of love. Some of these

phases are the first peek, verbal love-making (sulking), test and confirmation of emotions and

feelings, desire/passion, separation, jealousy and sexual intercourse' (Muhammad Haji Salleh',

2008). Putting this understanding aside, Malaysia is one of the toughest countries with strict

regulations in its censorship, being at 124th in the Worldwide Press Freedom Index 2009

(freedomhouse.org). Similar approached also took place in Hollywood 1920s. The protest on

nudity and sexuality along with criminality and violence was taken into account that formed the

board of censorship in 1922 called the Motion Picture Producers and Distributors of America

(MPPDA). The board created the Hays' 1927 list of "Don'ts" and "Be Carefuls" to help in

outlining the proper guideline of what is not acceptable to be produced on the

screen(filmsite.org). By the above comparison, it can be summarized that the issue of sexuality

has been contested and condemned to a certain extent in both the eastern and the western world.

This paper is designed to explore how Malaysian films represent sexuality from the 1930s up to

the present. As this is an exploration, the understanding of sexuality and the way it is looked at in

general shall be discussed by using Foucault's theory: Power, Resistance and Exclusion. By

employing the qualitative methodology expounded by (interpretive social science and content

analysis), the approach will describe, decode, translate, and otherwise come to terms with the

meaning, not the frequency, of certain or more or less naturally occurring phenomena in the

social world (Levy, 2003:148-162). The films in context (1930s to 2010) are chosen based on

their historical relevancy, award winning attributes, religious, political, social and global

influences, and shifts in cinematic stylistics. The breakdown of its characteristics is attached in

the appendices.

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http://www.freedomhouse.org/


2.0 Methodology

'The research will employ the qualitative methodology. By definition a qualitative approach is an

interpretive technique which seeks to describe, decode, translate, and otherwise come to terms

with the meaning, not the frequency, of certain or more or less naturally occurring phenomena in

the social world' (Levy, 2003:148-162). 'Interpretive social science (ISS) is related to

hermeneutics, a theory of meaning that originated in the nineteenth century. Hermeneutics is

largely found in the humanities: philosophy, art, history' (Neuman, 2006:1-17). Therefore, film

as an art-form must be approached in the context of its meaning through the method of content

analysis. Content Analysis is used by sociologists (and other social scientists) to investigate the

content of the Mass Media (although it has applications across a wider range of spheres – the

analysis of historical documents, for example). At its most basic, content analysis is a statistical

exercise that involves categorizing some aspect or quality of people’s behavior and counting the

number of times such behavior appears (a simple content analysis might involve counting the

number of minutes men and women appear on screen in a program such as “EastEnders”). In this

way, content analysis helps us to build-up a picture of the patterns of behavior that underlie (and

are usually hidden from view) the social interaction portrayed in the media (sociology.org.uk).

These meanings are however deciphered by the spectator that shares a meaning system which

allows them to interpret action of the figure as a relevant sign.

3.0 Working Methodology

This essay focuses on the ways in which cinematic representations interact with ideas of

sexuality. With the theoretical foundation from Foucault, sexuality in Malaysian films will be

assessed from three codes that may exist independently or coexist with each other. The codes are

Power, Resistance and Exclusion. As an exploratory approach, the films in context (1930s to

2010) are chosen based on their historical relevancy, award winning attributes, religious,

political, social and global influences and shifts in cinematic stylistics. The breakdown of its

characteristics is attached in the appendices.

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4.0 Theoretical Framework

Foucault believes the expression of sexuality is called "scientia sexualis", the science of

sexuality. It is originally based on a phenomenon of 17th century Christianity’s confession to the

powers that be; the priests (ipce.info/ipceweb/Library/history_of_sexuality.htm). Nevertheless,

Foucault claimed that there was an excessive urge to express sexuality other than the

confessions. This is the development of it being a discourse; limitation or lacking of exposures

on sexuality and intensifying people's awareness of it as a constant danger that empowered its

very essence further if it is repressed (ipce.info/ipceweb/Library/history_of_sexuality.htm).

With regards to Islamic teachings, sexual repression signifies the effective and moderate coping

of the human concupiscence (Kotb, 2004). Islam teaches us to overpower the already expressed

sexuality thoughts to rule over the sensibility of the mind preliminary due to its effect on our

human physiology. This presupposed manifestation, if it is not implemented might skewed our

conscious thinking that probably lead us astray towards emotional disorder or sexual

promiscuity. In Malaysia, the customary beliefs from our ancestors; the combination of many,

mostly of influences from the Malay Archipelago and Indians and the pre-Islamic teachings have

mold our perceptions to see sexuality as a dirty, pervert and shameless thing (Khoo, 2006). This

notion, albeit the current constraint amongst the society has been challenged through its

representation in Malaysian Films such as Isteri, Perempuan dan ... (U-Wei), Gubra (Yasmin

Ahmad), Ringgit Kasorrga (Shuhaimi Baba), Spinning Gasing (Teck Tan) to name a few. These

filmmakers are pursuing some changes in how the community should be handling sexuality: The

reality, rather than foreshadowing it with fantasy and myth in order to keep a distance from this

dirty-shameless-unspeakable-tabooed issue.

In 'The History of Sexuality: Volume 1: The way of Knowledge', Foucault discusses mainly on

power and relation among power. Three codes that can be exemplified through his theory are

'Power', 'Resistance' and 'Exclusion'. Foucault proves that even the interdictions of the course

also have constructive power: they have created sexual identities and a multiplicity of sexualities

that would not have existed otherwise. This applies to the human way of thinking when they are

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in the state of being curious - the instinct to investigate is provoked. Hence, the more you asked

to submit to the power the more you would likely to resist it (unless rational and logical

statements are reason out; which is the central issue of this problem). Thus, giving sexuality, a

tabooed issue, a more controversial and over-analyzed discourse. In Film and Ethics (2010), it

concurs that social problems of patriarchy cannot be solved by censoring hardcore (Foucault,

1976: 78). Power enables the 'self' to be more in control, whereas the power of the 'system of

power ' takes place when the 'self' has spoken in unity and when the 'mass' votes and agreed upon

a set of rules, this is when, as proud a power can get, they will be subdued to the 'regime of truth'

that is put upon them.

Foucault argues that when there is power, there is resistance. When power is defined as relations

between subjects, it becomes clear that "there is no relationship of power without the means of

escape or possible flight. Every power relationship implies, at least in potentia, a strategy of

struggle" (HOS:142). However interesting the summary of his book, Deleuze found that

Foucault coyly defined this code, hence he drew 3 fundamental concepts under this code:

“power”, “truth” “pleasure” (Russo, 2003). From this it is understood that resistance comprises

these three concepts and it is dependable and co-extensive with one another. This can be further

elaborated and drawn into a conclusion that the higher the power instilled into one subject

matter, the higher the resistance (of pleasure, truth and power) it shall become.

The previous code brought to Foucault's attention to, The 'Exclusion' code. In his book called,

'Madness and Civilization', resistance to the agreed 'system of power', will be excluded off the

society, making them known as the 'Other'. The examination of the situation of people existing

on the margins of society is one of the mainstays of Foucault's work. 'His analysis focuses on the

'negative structures' of society or excluded groups, as opposed to more traditional approaches

which focus on the mainstream' (michel-foucault.com/concepts/index.html). Foucault in The

Order of Discourse, assumes the 'will to truth' is the major system of exclusion that forges

discourse in which it 'tends to exert a sort of pressure and something like a power of constraint

on other discourses'..(1970, cited in Shapiro 1984, p. 113-4)'

(http://www.massey.ac.nz/~alock//theory/foucault.htm ) . He argues at one point that resistance is

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http://www.massey.ac.nz/~alock//theory/foucault.htm

http://www.michel-foucault.com/concepts/index.html


co-extensive with power, namely as soon as there is a power relation, there is a possibility of

resistance. 'If there is no such thing as a society without relations of power, this does not mean

that existing power relations cannot be criticized. It is not a question of an 'ontological

opposition' between power and resistance, but a matter of quite specific and changing struggles

in space and time. There is always the possibility of resistance no matter how oppressive the

system is' (michel-foucault.com/concepts/index.html).

5.0 Interpretations on the representations of sexuality in Malaysian films

The first film produced in Malaysia then, known as Malaya, was Laila Majnun (1933). During

those years, films were made from Chinese money, Indian directors and Malay casts with Bahasa

Melayu as the main language (Van der Heide (2002). Laila Majnun is an adaptation of a Sanskrit

folk epic/ story, a forbidden love (by their parents) between Laila and Majnun. There is a sense

of Exclusion of the origin of Malaya’s dignity as this film is a depiction of the Hindu way of life,

its epic, the abysmal of its culture especially in upholding parenthood. Parenthood is declared in

the Veda, “Through a son he conquers the worlds, through a grandson he obtains immortality,

but through his son’s grandsons, he ascended to the heavens” (Hinduwebsite.com). Laila and

Majnun is highly imbued with the Hinduism factor as the historical Malaysia embraces

Hinduism before Islam in the 14th century. Predominantly up till the present, the Wayang (Malay

shadowplay) too continues to adapt the Mahabarata in their Wayang performances. There

seemed to be a silent cinematic Power as both protagonist and antagonist of the characters abide

to this submission. No Resistance is visible. There is an unseen struggle in these characters as

they withstand the breaking down of their will to love. Clearly, in its depiction, no particular

issues on sexuality (gender, role or identity) is in question except surrendering to their destiny.

Both the Anima and Animus is defeated in Laila and Majnun. To Lacan (1985), the deep

psychological truth, however, is that such a desire masks a more hidden desire: to gain some

control over our own helplessness. Laila and Majnun is a testimony of this helplessness,

encountering only the sexuality that is shaped by the values that they learn from family and

society. Nonetheless, there exist a strong aspect of sexuality here; intimacy: A close sharing of

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http://www.guidetopsychology.com/death.htm

http://www.guidetopsychology.com/stress.htm

http://www.michel-foucault.com/concepts/index.html


thoughts or feelings in a relationship, not necessarily physical closeness. They died, almost

embracing each other. Melancholic, dramatic and tragic. Similar to Romeo and Juliet ,it seemed

that Laila and Majnun can be seen to have no unifying theme, save that of young love, an

emblematic of young lovers and doomed love (Bowling, 1949). To note, during the 1930s, the

world economy was in a depression. Due to the integration of the Malayan economy to the

global supply chain, Malaya did not escape the depression (Osborne, 2000). Perhaps apart from

the Hinduism factor, the Power of the world’s economy too at a greater juncture affects the

psyches of the filmmaker's stylistic apprehension of sexuality; that identities and roles are

blurred with only belief and tradition as the pinnacle. The films in the 1930s and 1940s after

Laila and Majnun continued to embrace such depiction.

Depiction of sexuality in Malayan films in the 50s continues its dilemma. Two significant films

worth discussing is Penarek Becha (The Rickshaw Puller,1955) and Semerah Padi (A Town

called Semerah Padi,1956). Both films are dramatic in genre. Penarek Becha marks a trajection

in Malaya’s film directorship legend, P.Ramlee. Penarek Becha represents the struggling and

melancholic Malay, Amran, trying to make end’s meet, dealing with the kasta (a predominat

aspect of Hinduism) in love with all its glory. Sexuality is depicted as assuming the role of the

patriarchal, the provider and sustainer. Despite Amran seeking pleasure in the opposites (Azizah)

and of the unbearable attraction of the poor/ rich dichotomy, Amran persevered in his patriarchal

duties towards his mother. There is a sense of catharsis as both Amran and Azizah emphatise

each other’s struggle and supports their emotional upheavel by means of Intimacy. In defeat,

both Amran and Azizah potentially 'offer' sites where hegemonic practices can be contested,

challenged and 'resisted' as highlighted by Foucault (Wallis, 1984). Therein lies the Power of

agonizing sexuality. Then came Semerah Padi (1956), a film that marks the return towards the

Islamic faith. Somehow, a pillar need to be resurrected. Thus, the narrative, characters and

dramatic structure of the story is being guided by the five pillars of Islam with emphasis on strict

Syariat implementation, its impact upon the person and community (hablumminannass) and

person to God (hablumminallah). The village of Semerah Padi is well lit with this outer

dedication towards Islam, yet it is marred by one act; adultery. In its strictest sense, love could

not be expressed by being in close proximity with the one you love. This proximity alone may

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give rise to the act of adultery. The film did not show explicit sexual acts (however obvious)

between Aduka and Dara but the aftermath was a tragedy. Power in religion seen in Semerah

Padi seemed to point to truth seeking, 'Truth' linked in a circular relation with systems of power

which produce and sustain it, and to effects of power which it induces and which extend it

(Wallis, 1984). A 'regime' of truth as Foucault suggested is inherent in Semerah Padi. It does not

seem to be formed as a natural reality but the product of a system (Syariat) of discourses and

practices forming part of the intensifying surveillance and control of the individual. Resistance

will rise to Exclusion. The contraries have been exercised by bringing sex increasingly into

discourse, into wider and more analytical focus. Semerah Padi challenges the core (Islam) in its

truthfulness, in application, in its ability to philosophize acts and derive to the wisdom of

understanding in the living, in reference to perhaps, Rashomon (1950). Sexuality in Semerah

Padi is seemingly preparing the nation’s psyches into facing the coming challenges of the nation,

having gained independence in 1957.

The 1960s is the Golden Era of the Malaysian film industries. The country had just gained

independence in 1957 and the declaration of Malaysia was in 1963. The 1960s and 1970s was a

time when even the Islamists of the opposition were fighting for causes that could only be

described as worldly and firmly located in the profane world of the here-and-now. Secular

concerns like nationalism, the politics of race and nationhood, economic parity, development,

language and identity were the key causes that were fought for and defended then (Farish A.

Noor, 2000). Yet, the films of the 60s pay tribute to many mythic and folk stories. Says Foucault

(1984), "We have yet to fully comprehend the nature of power" and therefore we should

investigate ". Our investigation on the powers of mythic films points to Panji Semerang (1961),

Puteri Gunung Ledang (Princess of the Ledang Mountain,1961), Singapura Di Langgar Todak

(Swordfish Attack Singapore, 1960), Siti Zubaidah (1960), Badang(1962), Raja Bersiong(1962).

Panji Semerang projects a woman who disguises as a man to save her kingdom and personally

subscribes to her womanly virtues in private. Puteri Gunung Ledang is a captivating Javanese

princess with supernatural powers who sought her lover’s presence, Hang Tuah, abandoning her

kingdom in all its glory. Singapura diLanggar Todak is a depiction of man against nature

(todak/swordfish) where man (a child) triumph above nature. Siti Zubaidah is depicted as

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heroine, full of wisdom who at one point in the story dresses as a man to save her husband,

Sultan Zainal Abidin, from his imprisonment by Princesses of China. The film is rich in symbols

and phrases of female power (kakiseni.com). Magical strength were depicted in Badang and a

king became a monster who craves for human blood when he accidently tasted the blood of his

cook in Raja Bersiong. Perhaps these mythic films are created to categorize the natural and the

supernatural, and employ a ‘bodily vocabulary’ whose identity hovers between human and beast,

mortal and immortal, physical and spiritual as believed by King and Hattori (2000). Thus, mythic

films of the 1960s use the body as the vehicle for demonstrating or expressing the underlying

Power in mythic image with a touch of feminism by male directors. The directors seem to

acknowledge that the ‘gaze’ can be a feminist gaze. The 60s era too highlights mythic/historical

films such as Hang Jebat, Sultan Mahmud Mangkat Dijulang (King Mahmud Died in Dignity),

Tun Teja, Badang, Dang Anom and Tun Fatimah. These films have somewhat assumed the

responsibility to uphold and regain a new breath of freedom in basic human rights to live. Hang

Jebat's famous quote "A fair king is a king to obey, a cruel king is a king to fight against"

challenges a newfound avenue of sorts towards seeing the most important aspect of Foucault’s

enactment on power; not the control exercised by certain strong individuals over certain weak

individuals, but rather, the control that all individuals exercise over themselves and others

through widely accepted forms of organized behavior. Resistance to Jebat’s dictum may end with

Exclusion. The political imagination of Malay nationhood (bangsa Melayu) during these times

continued to be promoted by various politicians in the region during the first half of the 1960s.

Malaysia, too, had a series of anti-Chinese riots in the 1960s caused by economic disparity

between Malays and Chinese (Huhua Cao & Morrell, 2009). These historical films are a

reminder of what Power means, its dichotomy, how individuals could multiply it for greater

access to nation’s pride within the race.

Oliver denoted Foucault's realm of theory as he pointed out that there is a strong relationships

between the (downwards) economic state with the (lacking of) human reproduction. 'The sexual

habits of people related directly to the birth rate, which was connected directly to matters of

economic productivity' (Oliver, Foucault The Key Ideas, 2010). The New Economic Policy

(NEP) in 1971 owes it genesis to a vision that sought to redistribute wealth among Malaysia’s

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http://www.routledge.com/books/search/author/huhua_cao


races and create a Malay middle class (http://blog.limkitsiang.com/). Two films is at focus in the

70s is Menanti Hari Esok (The Hopes For Tomorrow, 1977) and Tiada Esok Bagimu (There Is

No Tomorrow For You, 1979). Both films portray the dilemma of these middle class Malays

dealing with newfound economic stature. The film Menanti Hari Esok depicts the life of a Malay

teacher who excels in his career but is unable to teach his own children. The function of Malay

politicians, professionals and teachers were central to the plot, questioning their misuse of Power

and desiring unethical conducts in professional affiliations that gives rise to social problems.

These are the issues in Tiada Esok Bagimu. Both films denote a critical mirroring of the psyches

of the Malays of the 70s, where the interspace of wealth and fortune gives rise for consistent

meditation. This is the interspace that questions 'what is at stake in the will to truth, in the will to

utter this 'true' discourse, if not desire and power?' (Foucault, 1970, cited in Shapiro 1984, p.

113-4). Care of the ‘self’ (Malay-ness) in the Malaysian films of the 70s is somewhat a challenge

as to how to govern one's own life for the future generations for whom one could serve as an

example.

Malaysian films of the 80’s took a much more constructive route. The films were ‘conscious’ of

its Malay-ness, NEP, strength in motherhood, coming back to the historical roots and history,

accepting the other (non-Malays) and rejuvenating in mythic characters imbued in the common

man. In the search of the historical roots, a lot of power exercised has been in questioned and the

act of resistance has taken place. The film Dia Ibuku (Mother) (1980) seemed to "oppose to

categories of the ‘law’ and of ‘prohibition’. Central to the character is the power of the matriarch,

depicted as going against its patriarchal roots. It is ‘Motherhood’ that triumphs over hardship. It

seemed to point to the power to revolutionize the concept of bread winner and the belief that by

believing in the strength in nature (agriculture), even in the midst of industrial wealth, one could

succeed. Dia Ibuku is the pivotal prove that the Malays could succeed academically without the

support and special rights from the government. The Mother (nation) is self sufficient. As in

Ranjau Sepanjang Jalan (The Hurdles Along The Way) too, one’s sustenance is found solely on

the padi fields. This brings us to a contestation of the racial/ biological union of different race

and religion in Esok Masih Ada (The Hopes for Tomorrow) (1980) where a policeman married a

Chinese woman and bores a baby through the union. To live requires one to be mature and open

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towards the universality of love, beyond boundaries. As hard as it may be, the psyches of the

Malays must be able to withstand this virtue. In Abang (Brother) (1981), the oldest son and heir

apparent to a wealthy Kuala Lumpur family, returns home after his sudden departure to London a

decade ago. His return is a critical return, an attempt at salvation (himself and family). Despite

his siblings' mixed emotions on his comeback, an alliance is formed by virtue of the eldest in the

family, a genealogical approach. Perhaps, this is Foucault’s "deployment of alliance" a system of

kinship ties that exists in almost every culture. It consists of a number of spoken or unspoken

rules regarding marriage, family ties and ancestry. In Matinya Seorang Patriot (The Death of a

Patriot) (1984), the death of a veteran political activist named Shahban led his family and village

go berserk. His children began to lose faith, always in anger and greed entered the vicinity of

their daily lives. This seemed to point to the discontinuity of power in the lineage; balanced,

towering and safeguarding.

The 1990s was an interesting eclectic and existential period in Malaysian films. Hati Bukan

Kristal (Not the Crystal Heart) (1990) potrays the attempt of a reporter to come into contact with

a Malay prostitute, revealing their psychological, social and spiritual struggles. In Fenomena

(Phenomena) (1990) A Malaysian born British woman goes back to her village in Terengganu,

seeking someone to heal her but end up forgetting her own suffering and sacrificed herself for

others to be healed first. Selubong (Head Cover) (1992) arised during a critical assessment of

religion in the midst of the Islamic revival also known as the dakwah movement in Malaysia.

Mastura, who returns from her studies abroad, feels the loss of her good friend, E.J. who has

chosen to follow the path of the religious extremist. Mastura’s frustrations were directed at

volunteering in a mission for the Palestine refugees. Amok (1995) is set in the 60s. The core of

the story is the struggle between two cultures, East and West, where the same issue is also

obvious in Sayang Salmah (Unfortunately Salmah, 1995) and Jimi Asmara (Jimi's Romance,

1995). In Amok, Wan, a local, despite his hatred for the western culture, fell in love with Natalie,

an American on a Peace Corp mission in Malaysia. The civil union marriage was not

consummated as Natalie refuses to commit. Wan went amok and committed bloody murders. In

Ringgit Kassorga (1995), a young graduate working with a modeling company discovers greed,

treachery and corruption beneath the silky surface of business and politics (filemkita.com). The

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occurrence of mixture between different cultures due to the country open international business

relationships, seemed to put our then strong historical roots back into finding its identity. This

dilemma is being carried further into the next millennium.

The 2000s opened up a new leeway to the film making world as it nurtured and welcomed the

multicultural ‘post-new wave’ films (Zawawi, 2009). This however, took quite a long transition,

slowly leaped into the modern era to meet the challenges of globalization. By analyzing the title

of the films like Leftenan Adnan (Lieutenant Adnan, 2000), Lips to Lips, 2000), Mimpi Moon

(Moon's Dream, 2000), Kaki Bakar (The Arsonist, 2001), Spinning Gasing (Spinning Top, 2000),

it can be proven that there are traces of combination of apprehensions of the 90s along with the

excited fresh contemporary ideas coming into the new millennium. Leftenan Adnan entails a

story of a Malaysian soldier, Lt. Adnan, who gave his life in defending Malaya from the Japanese

invasion during World War II (filemkita.com). The underlying of the content of this film supports

Foucault’s idea on the ‘canon’, ‘a set of texts grouped together by a general principle to

constitute a tradition' (GS 602: The Art & Ideology of the 20th Century Spring 2007: AAU). The

power and the hail of dying patriotically for the nation to show the traditional values are strongly

suggested in this film, similar to that of Kaki Bakar (Arsonist, 2001) 'proud of his Javanese

heritage, Kakang tries to bring up his children in Malaysia and instill in them his own traditional

values and beliefs. Seeing clearly the social inequalities that allow him to be exploited his

defiance results in profound consequences for his youngest son, a boy who shares his father's

uncompromising integrity' (imdb.com). Lips to Lips (2000), 'Malaysia's first digital film is an

urban comedy set during one day in Kuala Lumpur. It features four entwined stories about desire,

where people's paths cross in unexpected ways (watchthisforfree.com). It begins to discuss

sexuality (power, resistance and exclusion) openly, although it does not cross the line of being

too provoking, but will be apparent if it is looked at in a critical way. An opposite stretch of

strategy placed in Mimpi Moon (Moon's Dream, 2000) a story of young Moon romancing Vina: a

romantic-teenage-love which develops into a frustrating, sad and comic journey of self-

discovery. Ten years after tragedy forces the teenage lovers apart, Moon and Vina, for reasons of

their own, return home to a small town in Langkawi which is known as Batu Suara, a small

sleepy community where nothing much ever happens... It is the 'Gamat Emas' (Golden Sea

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Cucumber) that brings Moon, Vina, their friends and families together (filemkita.com). The

implication on the traditional values are done in subtlety to suggest that no matter how far we

travel, home is where we will return to. However, there are a few apparent scenes that hinted on

sexuality as they portray the influences of the western into the Malaysian culture- Moon and

Vina are shown to have some romantic verbal love-making (sulking), test and confirmation of

emotions and feelings before their ten year separation. More tests appear into their love when

Moon is 'trapped' in a room with a Spanish woman-unknowingly uses the love oil, feels the

sexual desire and tries to seduce Moon in her hotel room. Heated rumors have spread

sensationally throughout the village, and landed to Vina’s knowledge. The peak of this film in the

context of power and resistance of sexuality takes place when Moon and Vina confess their love

in a form of an argument. Tension arises parallel to the persistent desire contribute to the power

vs. resistance theory. Spinning Gasing (Spinning Top, 2000), continues to portray the 'power vs.

resistance' model that ends with 'exclusion' as it enfolds the story of a troubled Harry Lee ,

returns home to Malaysia from studying overseas. Perceived as a failure by the father, he is

kicked out from home. He forms a dance band with Yati, his childhood friend. Harry is Chinese

by race and does not believe in god. Yati is a modern Malay and Muslim who believes in her

heritage and religion (imdb.com). They embark on a journey away from the urban jungle of

Kuala Lumpur to the tropical beaches of the East Coast. (kakiseni.com). Harry and Yati's

childhood crush develops into something much stronger, a love that crosses racial and religious

boundaries. Harry and Yati are forced to resolve personal issues of love and betrayal, race and

religion (imdb.com). It is vested by the culture, the sheer rejection of seeing two people of

different background, religion and race to fall in love, thus making this a central plot of the story.

'The film is loaded with quotable lines conveying the ‘realities’ of Malaysian multiculturalism.

“You two cannot campur (mix), impossible to mix. You deserved to be punished by Allah”

(Zawawi:2009). Also, there seemed to have a stronger interdiction in questioning the sexual

orientation course. The issue of placing a gay character in the film had promoted the film into a

controversial discussion. The code of 'Exclusion' geared the core content of this film, further

raised beyond the idea of sexuality defined in this paper. Nevertheless, it is flirtatiously seeking

the power to be exercised in the films to come. The multicultural ‘post-new wave’ films began to

take its shape when films like Bukak Api (Open Fire, 2000), Gedebe (Temper, 2003) , Mei li de xi

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yi ji (Beautiful Washing Machine, 2004) and Love Conquers All (2006), received attentions from

both the international and Malaysian market. 'The outside world is finally beginning to see,

consistently, Malaysian works that project the minds of these filmmakers and their thoughts

about themselves, their country and the world' (Muthalib: criticine.com/feature_article.php?

id=17). Bukak Api (Open Fire, 2000) is a groundbreaking movie which started life as an

educational video for the transsexual prostitutes of Chow Kit... the ultimate portrait of nocturnal

KL (Amir Muhammad: amirmu.blogspot.com/2009/03/now-on-dvd-bukak-api-malaikat-di.html),

and Mei li de xi yi ji (Beautiful Washing Machine, 2004), tells a story on Teoh's second hand

washing machine that has a life of her own: she washes when she wants to and stops when she

feels like it. When Teoh discovers the secret soul of this temperamental slave, he exploits her for

all his other household chores. And then he pimps her out to strangers. When middle-aged

widower Mr. Wong takes her in, his prodigal son immediately tries to seduce her, while his

petulant daughter becomes more and more suspicious (imdb.com). Both films began to push

further the question on sexual orientation through either the visual aids or spoken words that

portray on the very content. Another film that followed suit, Love Conquers All (2006), 'a story

of a girl arrives in Kuala Lumpur and immediately is absorbed into its marginal society... When

roguishly charming John appears , his overtures to her, all cocky charm laced with a barely

perceptible menace, seem almost irresistible...intense, intimate (dare one say specifically female-

gendered?) way of looking exposes truths that, once noticed them, seem always to have been

there, just underneath, practically hidden, until one's adopt the film's and director's new ways of

looking (dahuangspictures.com), used sexuality issue as the core of the story. All three films

mentioned induced the code of 'power' and 'exclusion'. Not so much on 'resistance' witnessed

there as instead of resisting, the 'other'(s) in the films tried to fit in the community with the 'flaws'

that they possessed. Gedebe (2003), sets in the underground music scene, this loose adaptation of

"Julius Caesar", with Caesar as a skinhead and Brutus as an undercover cop, is about the power

struggle between two men (imdb.com). 'Power' played a role structuring the underlaying

message. Muthalib argued in his article, Voices of Malaysian Cinema, 'Film in Malaysia was

once dominated by Malay cinema, but now the Fifth Voice has gained momentum and – like it or

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http://www.criticine.com/feature_article.php?id=17

http://www.criticine.com/feature_article.php?id=17


not – is in the process of creating a new Malaysian Cinema, both independently and through the

mainstream. And it is beginning to make its voice heard loud and clear'(criticine.com) defines the

trend of voices of the current film makers. They are at the avant-garde of the current Malaysia.

6.0 Conclusion

The Regime of Truth, as proven by Foucault held the highest power in controlling the

representation of sexuality projected in Malaysian films. Thus, there is a massive disparity

between the representation of sexuality that is fed on the screen and the reality of what takes

place behind them. This is witnessed by the way it is tackled through the films in questions.

There is a constant uprising in the representation of the identity of the Malaysian films,

specifically in sexuality. The openness towards liberalism is mainly contributed by the growth of

the globalizing era. The objectivity towards sexuality in the 1930s is very apparent and

acknowledged as proven in the context of the film studied, however sexuality in film is being

abandoned as the 1940 Depression Era hit the country. The film industry started to pick up its

production in the middle of 1950 with the concern of power placed onto man and myths.

Sexuality was portrayed in the form of monsters to further suggest the exclusion of the real

representation of the society. In 1960s, known as the Golden Era, the trend changed from the

focus on mythical matter to a more feminism approach, seeking the dominance beyond the

sexuality issue. It is proven earlier that the traces of Resistance towards the power given has

been contested. This trend continued to proliferate as the country approached the era of the 1970-

1980s. It witnessed the continuous effect of the NEP, as Foucault states there is a strong

relationship between economic disparity and the lack of sexuality and vice versa. The effect of

globalization has taken its toll as it bear witness in the representation of the films in the 1990s.

The issue of mix-marriages and the sexual connotations brought by the Westerners were

portrayed negatively through the studied films. Through the observations of the films in the

2000s it is detected that any form of sexuality, even to the bare minimum as can be seen in the

previous films, has been banned by the Malaysian Film Censorship Board. There are no longer a

depiction of love-making, but only through metaphors and subtle projections. Due to this

restriction, some filmmakers, with their own initiatives have stood off from making films for the

15


country, instead become independent by marketing their films outside. In turned, due to the

success of the films, it has positively shed light to the country as it has lifted up the industry onto

yet another level. Foucault's theory on the solid relationship between the country's economy and

sexuality is strongly suggested through this phenomena.

Oliver stated Foucault's key ideas on this phenomena as the following:

“It is interesting, therefore, that the state was caught between two very different,

and conflicting, types of discourse concerning sex. On the other hand, it was

apparently useful for the government to suppress discussion about sex, as it

enabled workers to concentrate on economic productivity; but, on the other hand,

it was necessary for the government to sustain some type of discourse concerning

sex because this was directly connected to the debate about population

expansion. Total suppression of anything connected with a discourse about sex

would thus have been dysfunctional for society” (p. 71)

For further study on this vital phenomena, one of the active commercial mainstream filmmakers,

Prof. Dr. Hatta Azad Khan, is putting his next work into a test. Cari Jodoh (Finding One's

Soulmate, 2010) is at the stage of script finalization, to be shot by end of 2010, clearly depicts

vivid sexual images through verbal projection. Khan is wisely tackling this issue by combining

metaphors and iconography into sending sexual messages across; in the hope that the society can

handle this issue in a comedic form. With this testimony in hand, stands a positive hope of

change in the future of the mainstream Malaysian Film Industry.

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Acknowledgements

This paper is made possible with the support, assistance and constant encouragement from Assoc Prof Hjh Siti Akmar Abu Samah, Prof Dr Zawawi Ibrahim, Prof Dr Hj. Kamaruzaman Jusoff and Sharifah Shakirah Syed Omar. Their unceasing advice and guidance has significantly con-tributed to the final work and to them is our greatest appreciation.

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http://www.watchthisfree.com/movies/2000/lips-to-lips/

http://www.massey.ac.nz/~alock//theory/fou

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Appendix 1: The list of Malaysian Films (1930s-2000s) and the breakdown oftheir characteristics based on the Foucault's codes: Power, Resistance and Exclusion.

20

Appendix 1

Filem/Codes POWER RESISTANCE EXCLUSION

Laila Majnun ● ● Penarik Beca ● ● Semerah Padi ● ● Puteri Gunug Ledang ●Singapura diLanggar Todak ● ●Siti Zubaidah ●Hang Jebat ● Raja Bersiung ● ● Menanti Hari Esok ● Tiada Esok Bagimu ● Esok Masih Ada ●Dia Ibuku ● Ranjau Sepanjang Jalan ● ● Matinya Seorang Patriot ● ● Kembara Seniman Jalanan ● ● Hati Bukan Kristal ● Abang 92 ● Azizah-The Legend ●Fenomena ● ● Sembilu ● Amok ● ● ● Ringgit Kasorrga Layar Lara ● ●Selubung ● ● Leftenan Adnan ● Lips to Lips ● ● ● Mimpi Moon ● ● Kaki bakar ● ● Spinning Gasing ● ● Gedebe ●Bukak Api ●Beautiful Washing Machine ● ●Love Conquers All ●


Appendix 2: The graph that shows the trend of Malaysian Films from 1930s and its exploration on sexuality.

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sexuality in malaysian films: an exploration

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