Cartoonist held for sedition
-star online
Thursday April 25, 2013A SINGAPOREAN cartoonist has been arrested for alleged sedition over a satirical comic strip on his Facebook page that appeared to accuse the government of racism, his lawyer said. Leslie Chew, 37, was released on bail following his arrest on Friday, two days after a complaint was filed about his cartoon strip that lampooned the government for being “racist” towards minority Malays, said his lawyer Choo Zheng Xi. The strip was posted on Chew’s “Demon-cratic Singapore” Facebook page on March 27. “He was released on S$10,000 (RM24,600) bail on Sunday night, and is currently being investigated under the Sedition Act,” said Choo yesterday. The cartoon depicts a politician addressing a crowd and praising the talents of expatriate Indian, Chinese and Caucasian communities. A character in the audience asks “What, no mention of Malay talents?”, to which another responds “Damn! Racist government”. A spokesman for the Attorney-General’s Chambers said: “The matter is currently under police investigation.” Chew regularly posts satirical political cartoons linked to current events in Singapore on his Facebook page, which has over 21,000 followers. His cartoon characters usually resemble local politicians, although a disclaimer on the page says it is “a totally fictional comic with entirely fictional characters based on wholly fictional events in a fictional country”. Chew said he was “surprised” that he had been picked up by the police. “I thought I made it quite clear through the disclaimers on the cartoons that my work on Demon-cratic Singapore is purely fictional,” he said. He added that he intends to continue to publish cartoons while he is being investigated as police had not imposed any restrictions. “I want to continue to amuse my audience. The comics are simply for laughs,” said Chew, who is unemployed and makes a living from contributions from his online readers. Singapore, a multi-racial island nation, clamps down hard on anyone seen to be inciting communal tensions after experiencing bloody racial riots in the 1960s. If convicted, Chew faces a jail term of up to three years or a fine of up to S$5,000 (RM12,300), or both. — AFP ______________________________________________________________________________  Local Malaysian newspaper Berita Harian published a caricature in their editor's column today that depicts the popular Japanese cartoon character Ultraman as trying to outrun an incoming tsunami. The publication has received tremendous criticisms by readers, who accuse the editors as being "inconsiderate and distasteful". Several political leaders have even stepped out and demand a public apology, to which the editors promptly made on their publication's Facebook fan page. Source here.
______________________________
7 December 2010Weekly Edition Volume 1 Issue - 44 _Guest Article:_ From a mousedeer to Alien creatures:Animated Feature Filmmaking in Malaysia - Part I *BY HASSAN ABDUL MUTHALIB* Share3 <http://www.facebook.com/
"The first feature animation film in the Southeast Asian region was
made in Thailand in the 1970s. It took another 20 years before Malaysia, the Philippines, Indonesia and Singapore joined the fray"/ This paper will first of all provide a brief introduction to some of the animated features in Asia and their narratives. It will then give an overview of the history and development of animation in Malaysia with a focus on its feature films to see the sources and adaptations and their relevance to the audience and issues of the present day. The first feature animation film in the Southeast Asian region was made in Thailand in the 1970s. It took another 20 years before Malaysia, the Philippines, Indonesia and Singapore joined the fray. In Malaysia, six features have been produced and a number of others are now in various stages of production. Almost all the films' stories refer to the country's rich trove of legends and folk tales that are already in the public memory. The most recent became an unprecedented box-office hit even though it had an original storyline and characters that have now become a part of the country's popular culture. *Introduction: Animation in Asia* Mythic storytelling has been part of the culture and traditions of Asian countries from time immemorial. Nowhere is this more evident than in the performance of the wayang kulit (shadow play), rightly recognised today as the earliest form of the cinema - and also of animation. In 1926, the shadow play literally moved to the cinema screen. Lotte Reiniger in Germany, was inspired by Chinese shadow play (pi ying xi) and created the world's first animated feature (The Adventures of Prince Achmed), with the technique of silhouette animation. Thailand's shadow play has influenced Thai animator, Payut Ngaokrachang, who made the country's first cel-animated feature film (The Adventures of Sud Sakorn) in 1979 that was based on an epic Thai story. It tells the story of Sud Sakorn, the son of a mermaid and a minstrel prince, who goes on a journey where he duels with an elephant, shark and dragon horse armed with only a magic cane. Defeating them all, he meets up with the classic archetypes of the king, a hermit, a yogi and ghosts. Sud Sakorn was a feast of rich colours with its design elements inspired by the decorative arts of Thailand. More than two decades later, a computer-animated animation feature appeared in 2006 with a story based on an elephant (Khan Kluay - Kompin Kemgumnerd). It became Thailand's first 3D animated movie depicting a theme that refers to the ancient way of life. Khan Kluay, a fatherless elephant wanders away from his mother and is captured by humans. He becomes a war elephant and in a climactic battle, defeats the Burmese elephant that killed his father. Though digitally-made, Khan Kluay (and its sequel, Khan Kluay 2), had character designs and backgrounds that were distinctly Thai in look. In the Philippines, five animated feature films have been produced with almost every one of their stories based on Philippine mythology or legends. Isko: Adventures in Animasia (Gerry A. Garcia, 1987) was an adventure story wherein the hero was brought to the country of Animasia to save a beautiful princess from the clutches of an evil monster. Ibong Adarna (The Adarna Bird - Gerry A. Garcia, 1997), was about Don Fernando, the ruler of the Kingdom of Berbanya who falls ill after having a nightmare. None of the healers in the kingdom can cure him but an old doctor says that his illness may be cured only by the song of the Adarna Bird. The doctor warns that the bird is actually an enchantress but, nevertheless, it must be brought back to save Don Fernando from his sickness. Urduja (Amy Portes, 2008), based on a story of a 13th century warrior princess, the only daughter of the Tawilisi tribe chief. The chief's failing health gave rise to the urgency of finding her a husband who could lead the tribe as the new chieftain. The man considered most eligible to become Urduja's husband was Simakwel, a Tawilisi warrior but the princess didn't like him. Urduja then fell in love with Lim Hang, a Chinese pirate. Afraid of losing both the crown and Urduja, Simakwel did everything to drive Lim Hang away but to no avail. Dayo sa mundo ng Elementalia (Robert Quilao, 2008) was advertised as a 'tradigital' film ('tradigital' here refers more to its digital mode of production). It was the first feature to be fully animated using 2D digital technology. The story revolved around a boy, Bubuy, who had to save his grandparents who were abducted and brought to the strange land called Elementalia, home to a host of strange creatures from Philippine mythology. The most recent feature, RPG Metanoia (Luis Suarez, 2010) has a story centering on the lives of ordinary, everyday gamers. They become suddenly wrapped up in the very game they play when they are faced with an impending threat to the world. The protagonist and his friends challenge the game itself and discover heroism in themselves in their effort to save the world. Advertisement In no other Asian country has mythology become a fixture of society, custom, religion and nation than India. The epic tale of the Ramayana has appeared in every form of the performing and visual arts (including cinema) - and not only in India but in almost every Asian country in some form or other. An award-winning animated feature film, Ramayana: The Legend of Prince Rama, was made in 1992 by Japanese producer and director, Yugo Sako. The story of the Ramayana was seen on a deeper level - that it was not just a story of good triumphing over evil but about a whole philosophy of life that was relevant for all time. The director did painstaking research to make the costumes and architectural details as authentic as possible in his collaboration with well-known Indian animator, Ram Mohan. The final result, especially in the action scenes, is as magnificent as that of the Osamu Tezuka-conceived animated epic, 1001 Nights (1969), that was based on another classic legendary tale. An interesting development is American comic strip artist, Nina Paley's, Sita Sings the Blues (2008), a PC-animated post-modernist musical feature based on the Ramayana. It is a humourous retelling of the epic done in traditional 2D animation utilising cutouts, collages, photographs and hand-painted watercolours for the backgrounds. From China comes the epic, Journey to the West, a tale which dates back to the 16th century. It is based on a legend from 600 A.D about a monk who travels to India to bring back Buddhist scriptures. The monkey king, Sun Wu Kong is the main character in the story. Like Hanuman in the Ramayana, Sun Wu Kong is a powerful monkey. Havoc in Heaven (Wan Laiming, 1961), the most ambitious and highly-acclaimed animated feature based on Sun Wu Kong was a remarkable film. The battle scenes are influenced by the Beijing Opera's military style of performance and are very reflective of Chinese acrobatics. The influence of Chinese opera is also evident in its rich and colourful backgrounds and character styling. In Japan, Hayao Miyazaki's body of works is suffused with a childlike innocence and beauty. Many of his anime refer to Japan's history, legends and landscape. Land-scape, and especially nature, plays a very important role in his narratives (as it did in the films of Walt Disney). My Neighbour Totoro (1988) was a fantasy presented as ancient mythology. Two little girls and their father move to the countryside to be near the girls' mother who is in a hospital. The girls discover a fantasy world beneath a large tree where they confront the creatures called totoros. These creatures do not exist in Japanese mythology, but the success of the film has inserted them into Japanese popular culture and transformed them into modern myth. Miyazaki went on to again explore nature in his acclaimed Princess Mononoke, an epic adventure of gods and men and of their place in nature. A young man, Ashitaka, sets out to find a cure to a strange curse that afflicts him after he unintentionally kills a boar god. He meets up with a wild girl, San, who lives in the forest. She runs with wolf gods and fights humans who have encroached on the wolves' territory. In a complex world, man comes into conflict with nature. Changes are set into motion and the spiritual forces that have been disturbed must be appeased. In the midst of it all, Ashitaka and San find love, proving that it can transcend change and complexity. Miyazaki received international recognition with Spirited Away (2001) when it was awarded an Oscar for Best Animated Film in 2002. The film's theme is one of dislocation featuring the story of a ten-year-old girl who, in the process of moving to a new neighbourhood with her family, is thrust into a world of spirits and a fantasy world. Singapore's entry into the animation arena was relatively late. Sing to the Dawn (Steven Dexter), the first feature, began production in 2003 and only hit the screens in 2008. A Malay version titled, Meraih Mimpi, was made for the Indonesian market in 2009. The film depicted the struggles of a young village girl, Dawan, who goes against the traditional role of women in society by wanting to study and better the lot of her family and village. She faces opposition from her brother and father but this makes her even more determined to prove herself. Zodiac: The Race Begins (Edward Fu, 2006), Singapore's first 3D animation feature had the Chinese zodiac as its subject depicting a race that would decide who among the animal characters would be the Zodiac King. The Emperor in heaven gives the order to select twelve animals as representatives in a cycle of 12 years. He announces that the first animal to reach Heaven would become King of the Zodiac. However, the dark forces impede the twelve chosen ones in their race. Legend of the Sea (Cubix International, 2007) was the story of a prince, Little Dragon, who loses a king's treasure (the Luminous Pearl) which is the source of power. In seeking the Pearl, he fights Ocho, the evil octopus to save the kingdom and redeems himself in the process. *Animation in Malaysia* Animation began in Malaysia with the setting up of the Malayan Film Unit (MFU) by the British in 1946. The availability of animation equipment (that had been in use in Sri Lanka),enabled titling and animation to be done. Gillie Potter, a British Army combat cameraman, became the first teacher to the locals. The first animation (in stop-frame) was done in 1949 for the documentary film, The Kinta Spirit. The presentation and opening titles in the early 1950s for the Cathay-Keris studios in Singapore were made and photographed at MFU. The first cartoon character to be animated was the mousedeer and it appeared in the short film, Hikayat Sang Kancil (The Tale of the Mousedeer), made by Anandam Xavier, a set designer with MFU. It began production in the early 1960s and was finally completed in 1978. This was followed by five other shorts written and directed by Hassan Abd. Muthalib in the 1980s with two of them based on the mousedeer stories (The Mousedeer and the Monkey in 1984, and The Mousedeer and the Crocodiles in 1987). By 1995, the first television series, Usop Sontorian (The Village Boy, Usop) by Kamn Ismail, went on air. It was made with a low-end 2D animation software and input directly into the computer by drawing with the mouse. The success of Usop attracted other producers to enter the field and between 1995 and 2010, almost a hundred television series have appeared with many of them being sold at international markets. Local television stations have also commissioned television series, among them: Kampong Boy (1997), based on the characters of Malaysia's internationally-known cartoonist, Lat; Mustang Mama (2005); Upin & Ipin (2007), and Mat Kacau (2010). But undoubtedly, the feather in Malaysia's cap is the 3D Saladin project. Ten years in development and promotion, the project finally bore fruit through a collaboration between Malaysia's Multimedia Development Corporation and Al-Jazeera, the satellite television channel based in Qatar. The first thirteen episodes aired in 2010 showcasing the talents of local animation personnel and proving that they can deliver world-class animation. Advertisement The first animation for feature films was made by the versatile Mat Sentol when he was with the Cathay-Keris studios in Singapore in the 1960s. This was in the form of animated titles and photo cutouts in the Mat Bond series of films that parodied the James Bond films at the time. In Kuala Lumpur, animation for features began with the longest opening title and credit title sequence for the film, Mekanik (1983), followed by Mat Gelap (Mat, The Detective, 1990). The latter film was the first to have animated characters and also animation over live action. Hassan Abd. Muthalib designed and hand-animated the segments for both the films. With the advent of 3D animation and visual effects software, more feature films began to include elements of animation and CGI. These have been made by graduates from the various animation colleges and universities who are now making a name for themselves in feature films, television series and also in game cinematics. Many Malaysian animators are also actively employed outside the country, and in particular, in Singapore at studios such as Lucasfilm Animation. Others are in China and the United States and have worked on prestigious Hollywood features such as The Chronicles of Narnia, Charlotte's Web, The Curious Case of Benjamin Button and 2012. *The Production of Malaysian Animation Features *Between 1995 and 2010, six animated features have been made - Silat Legenda, Putih, Budak Lapok, Mann Spider and the Princess of Melaka, Nien Resurrection and Gang: The Adventure Begins. Another three are in the final stages of production: Alamaya, War of the Worlds: Goliath and Seefood with the most recent, Awan, being in the development stage. The earliest animated feature to begin production was Mann Spider and the Princess of Melaka by Lensa Film which began sometime in early 1990. To date, the 2D animated film has been completed but not yet kinetransferred to film for release. Malaysia's first animated feature, Silat Legenda (Legendary Silat Warriors), hit the screens in 1998. Nien Resurrection (2000), the first 3D feature, went straight to VCD. Putih, the second cinema feature, appeared in 2001. Cheritera (Legends) also appeared in 2001 and was co-produced by Matahari Animation and Production with an Indonesian animation company. The entire crew and production of the film was Indonesian, thus it cannot rightly be categorized as a Malaysian film. Matahari then came up with Budak Lapok (The Raggedy Kids) in 2007, co-produced and animated by the same Indonesian studio, Red Rocket, that had made Cheritera. In 2009, Les Copaque Productions brought out Geng, Pengembaraan Bermula (Gang: The Adventure Begins), the first 3D feature to be made for the cinemas. Three other 3D features went into production between 2008 and 2009: Alamaya by Eugene Foo; War of the Worlds: Goliath, by Joe Pearson, a stereo-scopic 3D and standard 2D feature is currently in production by Tripod Films, and Seefood by Silver Ant that was commissioned by the television channel, Al-Jazeera. *Silat Legenda, *produced by Peninsula Pictures Silat Legenda (Legendary Silat Warriors, Hassan Abd. Muthalib, 1998), was Malaysia's first animated feature film and was originally conceived as a television series. Working together with Hisham Harun Hasim, the producer, Hassan wrote the screenplay of five schoolboys of various races in Malacca in the 21st century who were researching the legendary heroes of Melaka, namely, Hang Tuah, Hang Jebat, Hang Kasturi, Hang Lekir and Hang Lekiu. The five boys discover an old book in a bookshop which guides them to the location of five ancient magical weapons hidden in a cave in Mount Ledang that had once been used by the legendary warriors. In a prologue set in 15th century Melaka, two silat students - Seleman and Maimunah - are pitted against each other by their teacher - Grandmaster Pujangga. The winner would then be awarded the five magical weapons. Maimunah emerges the winner but the weapons are instead awarded to Seleman. She flies into a rage and flees, swearing vengeance. She then goes into suspended animation and awakens in the 21st century when the weapons are activated by the five schoolboys. In a climactic fight, replete with 3D visual effects, Maimunah is defeated. Syed Hassan al-Mashoor who had been with the Singapore animation studio, Animata, was the animation director. Cesar T. Coronado, Jr., from Manila was the background supervisor and Shaaban Yahya, a musician from Singapore, handled the music direction. Animation key poses and background layouts were done in Malaysia with some of the animation and background painting done in Indonesia and the Philippines. Digital painting and compositing were done on the USAnimation system while 3D elements and visual effects were made with Wavefront software. The world premiere at the Putra World Trade centre on 19th August 1998 was officiated by the then Prime Minister, Dato' Seri Dr. Mahathir Mohammad. *Nien Resurrection,* produced by Young Jump Animation. Young Jump became the first to go fully 3D with their feature, Nien Resurrection, in 2000, going straight to video compact disc (VCD) selling more than 50,000 units in the year 2000 alone. This success enabled the studio to go into the production of 52 half-hour VCD episodes of Skyland in 2001. Young Jump has been the most prolific and experienced exponent of motion-capture processes in Malaysia. Since installing a Vicon system in 2003, they have used it to make other episodes of Skyland and also provided services for foreign videogames producers. Nien Resurrection told a tale of two mythical monsters from Chinese mythology battling it out in an ancient, alien landscape. The story then moves to the modern world where a young security guard and his girlfriend get involved in the monsters' duel. *Putih* (The Girl, Putih), produced by Eurofine. Malaysia's second animated feature, Putih, was made by Fine Animation, a subsidiary of Eurofine. It was screened in theatres beginning 25th October, 2001. Putih was based on the legendary tale of Bawang Putih Bawang Merah (literally, Garlic and Artichoke - the names of two sisters in the film). A live action feature based on the same story had previously been made in Singapore in 1959 by Cathay-Keris Studios, directed by S. Roomai Noor. The film kept to the original legend's storyline and plot. Fine Animation's Putih took the basic plot and added a war segment at the end to make the story spicier, turning it into a cross between the stories of Cinderella and Mulan. Putih was a bright young girl who had to endure much hardship while living with her stepmother and stepsister, Merah. Putih managed to break free from their stranglehold upon her marriage to a prince. She ended up playing a pivotal role, saving her country from its enemy and becoming a symbol of loyalty, intelligence and determination. For comic effect, two animal characters - a cat and a mouse - were created. Putih was directed by Rashid Sibir with Abd. Jamil Ahmad as the animation director. Work began in 1999 with the involvement of thirty animators. None of the animators, including Jamil, had been involved in feature production (he had only been involved in television series while working at the Disney and Hanna-Barbera studios in Australia). Putih was fully cel-animated and had hand-painted backgrounds with some of them having been done in Indonesia. Some former staff of Peninsula Pictures which had produced Silat Legenda were commissioned to do the animation layout and part of the animation. Among them was Syed Hassan al-Mashoor and Ayie Ibrahim. Digital painting and compositing were done on the USAnimation system. *Cheritera *(Legends), produced by Matahari Animation and Productions. Cheritera was a co-production between Matahari Animation and Productions and Red Rocket Animation, a company based in Bandung, Indonesia. Cheritera (2001), was an almost wholly Indonesian production and was to be a trial run to understand the intricacies of animation production for the staff of Matahari. The film's director and animation director was Erwin Arggh!. The dialogue was written by Dato' Jamil Sulong, Anwardi's father and a veteran of Malay feature films who had been with Malay Film Productions in Singapore in the 1950s and 60s. The film was cel-animated using the Toons 2-D software with one of the three stories, Kilip dan Puteri Bulan (Kilip and the Moon Princess), finished in 3D. Cheritera did not qualify to compete in the 2002 Malaysian Film Festival as its entire crew was Indonesians, but the film is worth mentioning as its stories were common to both Indonesia and Malaysia. The film begins with an animation segment of three children arriving at their grandmother's house in the village. To entertain them, she tells them popular stories taken from the fables of the Nusantara region. The first story, Kilip dan Puteri Bulan was of Iban origin from Kalimantan. The demon, Ruha, wanted to plunge the Earth into darkness. To thwart him, the Sun King and the Moon Princess combined their powers to dispatch the Demon to the Underworld but they became separated in the process. Now the Sun King protects the day while the Moon Princess looks after the night. Ruha manages to regain his powers and tries to engulf the full moon. He is defeated by Kulip, a young Iban, by the playing of music from the sape, a traditional Iban guitar. The second story, Ketam Kecil dan Rumahnya (The Little Crab and its Shelter) was adapted from another local fable and told the story of Kumang, a young hermit crab who was tired of being treated like a kid. He goes on a journey to find the perfect shell to live in but gets a lot more than he bargained for. The third story, Kancil dan Kerbau (The Mousedeer and the Buffalo), can also be found in Malaysia. It was about a baby crocodile, Aya, who, like his father, Pabuaya, loves to eat buffalo meat. Their uncontrolled greediness results in the diminishing of the buffalo population much to the dismay of the other crocodiles and also the buffalos. The buffalos avail of the advice of Kancil, the clever mousedeer, who formulates a plan to teach Pabuaya a lesson that he would not forget. *Budak Lapok* (The Raggedy Kids, 2006) produced by Matahari Animation and Productions in collaboration with Red Rocket Animation. Budak Lapok was originally titled Pok, Pok, Pok, a title based on the popular song lyrics of the theme song in the legendary actor/director/ musician, P. Ramlee's 1957 Singapore film, Bujang Lapok (The Raggedy Bachelors). Budak Lapok was produced by Matahari Animation and Production and in collaboration and again animated by Red Rocket Animation in Bandung. Anwardi Jamil was writer and director. Erwin ('Arggh') Hajuningtyas was again the animation director. Among the voice actors were the veterans of Malay Film Productions, Singapore: Aziz Sattar and S. Shamsuddin. Toons 2-D software was again used with some parts of the film done in 3-D but rendered as 2-D for complicated camera moves. The story was about three young friends, Ramlee, Ajis and Sudin (taking the characters' names from the well-known 1957 film, Bujang Lapok (made in Singapore). They lead their school to a football game against the champions from a neighbouring school led by Sarip Dol with his sidekicks, Megat Komeng and Brahim. Ramlee, Ajis and Sudin are also trying to win the hearts of three girls, Nani, Salmah and Eton, by participating in the inter-school drama competition. Things become complicated when the dates for the drama competition and the soccer match clash. The three boys are in a dilemma as to how to appear in two places at the same time. amrita.valecha@ NEW STRAITS TIMESArt: Strokes of expressionZUHAILA SEDEKzuhaila@nstp.com.my 2010/11/28
His love to paint has inspired him to be a comic artist and more. Chong Chin Yew tells ZUHAILA SEDEK how it all started
WHEN Chong Chin Yew was 14, he created a comic book from his exercise books and distributed it in school.
_________________________________________________________________________“I would photocopy the comic book and sell it to my friends. Sometimes, I even forced them to buy it,” he recalls with glee. “I’m not good at telling stories through words, so I choose to draw.” What started as an interest has turned into a job. Chong, 29, is now one of Malaysia’s most promising artists. It all started five years ago when he quit his mundane job at a printing sales company. He invested his savings in canvases and paints. He was inspired after reading Julia Cameron’s The Artist’s Way. Chong rented a simple room to hide what he’s been up to from his parents. In the morning, he would be dressed in office attire, but he would be painting in his rented room and return to his parents’ home in the evening. He painted for a blog he co-created called 30dayartist.com. The blog requires him to feature one painting a day for a month, but he ended up with 40 paintings instead. The blog led Chong to his first media recognition. He started to receive requests from other artists who wanted to do what he did. He had his first solo exhibition, after many attempts, at Seni Gallery where he sold half of his paintings. “I still can’t believe that people are willing to pay so much for a black-and-white painting,” he says. Today, 30dayartist.com sees many artists on board. Chong is also able to sell his paintings and secure more venues for his artworks. But money has never been his focus. It’s his love to paint that has inspired him to be an artist. Chong also enjoys working with children through art. He was recently invited to Ireca Cares Comic Workshop at the Lighthouse Children Welfare Home in Bukit Pantai where he taught over 30 underprivileged children how to tell their stories through comics. The former student of Limkokwing University College of Creative Technology sees comics as a great platform for children to tell stories because its language is simple and the sequence can tell a story effectively. “You have full control of your comic, and this gives you the freedom to explore. I like comics because it appeals to everyone,” he says. Chong has also directed children TV shows on Astro Ceria — Geng Bas Sekolah and Kapten Boleh — adding another title to his resume. “It’s important to give the right kind of entertainment to children and I love directing shows for children,” he says. He has even directed music videos for local band Pretty Ugly and Indonesian band Syuga. Recently, he developed an interest in moving pictures and hopes to produce his personal auteur someday. That’s not all. Chong self-published a picture book, The Boy Who Loved Clouds, in 2006. Two years later, he developed I See So Many Butterflies, a 600-page graphic novel. He plans to organise a world tour for the artists at 30dayartist.com. Last updated on Friday, 12 November 2010 14:19 | ||
| More Needs To Be Done To Protect Copyright in Malaysia |  |  |
KUALA LUMPUR, 12 November, 2010: Though Malaysia has stepped up efforts to eradicate copyright infringement and pirated products; it is yet to achieve the desired results.
In the 301 Special Report on the adequacy and effectiveness of United States Trade Partners in protecting intellectual property in 2010, the United States Trade Representative (USTR) office praised Malaysia's efforts to improve legislation and enforcement especially in regards to software piracy.
Nonetheless, it is still not enough to take Malaysia out of the ‘lower level watch list’ where Malaysia sits with another 28 nations. Regardless, it is still an achievement compared with the ‘priority watch list’ which Malaysia was in up to 2004.
Copyright is the legal right granted to an author, composer, playwright, publisher or distributor to exclusive publication, production, sale, or distribution of a literary, musical, dramatic or artistic work. Piracy is the unauthorized use or reproduction of copyrighted or patented material.
Mohd Roslan Mahayudin, the Enforcement Division Director General for the Ministry of Domestic Trade, Cooperatives and Consumerism noted that this still does not augur well for the nation's image.
"We also want to encourage more FDI into the country. If the investors see their products and services are not protected, they may not want to invest.
"Malaysia will be seen as a nation that does not respect intellectual property rights. This is not good for our trade. We have to ensure the copyright infringement rate remains low", he told Bernama.
|
__________________________________________________________________
*KUALA LUMPUR, 12 November, 2010: *Though Malaysia has stepped up
efforts to eradicate copyright infringement and pirated products; it is
yet to achieve the desired results.
In the 301 Special Report on the adequacy and effectiveness of United
States Trade Partners in protecting intellectual property in 2010, the
United States Trade Representative (USTR) office praised Malaysia's
efforts to improve legislation and enforcement especially in regards to
software piracy.
Nonetheless, it is still not enough to take Malaysia out of the 'lower
level watch list' where Malaysia sits with another 28 nations.
Regardless, it is still an achievement compared with the 'priority watch
list' which Malaysia was in up to 2004.
Copyright is the legal right granted to an author, composer, playwright,
publisher or distributor to exclusive publication, production, sale, or
distribution of a literary, musical, dramatic or artistic work. Piracy
is the unauthorized use or reproduction of copyrighted or patented material.
Mohd Roslan Mahayudin, the Enforcement Division Director General for the
Ministry of Domestic Trade, Cooperatives and Consumerism noted that this
still does not augur well for the nation's image.
"We also want to encourage more FDI into the country. If the investors
see their products and services are not protected, they may not want to
invest.
"Malaysia will be seen as a nation that does not respect intellectual
property rights. This is not good for our trade. We have to ensure the
copyright infringement rate remains low", he told Bernama.
Campaign to Eradicate Copyright Infringement
The latest campaign to eradicate copyright infringement launched in May,
targets at business premises selling pirated or counterfeit items
especially at hotspots identified all over the nation - the Golden
Triangle and Jalan Petaling, both in Kuala Lumpur and Holiday Plaza in
Johor Baharu.
"In this respect we are targeting warehouses or storage facilities,
apart from small businesses," said Roslan.
From Jan 1 to Oct 31, 2010, Mohd Roslan pointed out 73,956 premises
were inspected with goods worth RM25,659,335 confisicated.
"They represent violations under Price Control Act 1946 (73 cases),
Trade Description Act 1972 (516 cases), Copyright Act 1987 (712 cases)
and Optic Disc Act (One case)," he said.
Roslan advised consumers to lodge a complaint with the ministry's
enforcement division if they feel suspicious over the authenticity over
the products that they have purchased.
"As for example we often receive complaints on handphones purchased at
sales carnivals. We have narrowed down the problem to mobile sales
carnivals and are keeping an eye over them. We have send directives to
our counterparts in the states to keep an eye on them. We suspect there
are syndicates behind them. They buy a container load of goods from
overseas, and participate in any carnival", he explained.
Roslan also advised entrepreneurs to register their products with MyIPO
so that the ministry can protect them
Awareness Programme
In ensuring greater awareness on the menace and how it can impede the
government's efforts in creating a creative and innovative society, the
ministry also holds briefings, seminars and workshops to create
awareness in the society on why it is important to buy the original
products. The awareness campaigns are divided into five zones - north,
central, east and south - in Peninsula, and in Sabah and Sarawak.
Roadshows on piracy were held at 20 primary schools to expose students
on the consequences from copyright infringement.
The ministry is also conducting a study with the cooperation of
UniversityInstitut Teknologi Mara (UiTM) on the effectiveness of its
campaigns. The outcome of the study will be used to plan out effective
campaigns in eradicating copyright infringement menace and pirated products.
Original Sales Carnival
In line with the latest campaign to eradicate copyright infringement,
the ministry is organizing an Original Sales Carnival that starts on
Friday (Nov 12) and ends on Sunday (Nov 14) at the Mid Valley Exhibition
Centre here.
"Apart from shopping, visitors can also learn the ways to identify the
original and the pirated products. Through this the consumers will be
more aware on why it is important to protect intellectual property",
said Roslan.
This carnival is meant to promote and sell original items under various
brand names at competitive prices. Among the product categories
promoted and sold at the carnival is computers, music and film,
electrical goods, games and computer software, hand phones, sports
items, apparel, books and stationery, beauty products, perfumes, food,
drinks and health products.
-BERNAMA
_________________________________________________________________
People: Cedric’s challenge
2010/10/14
RIDZWAN A. RAHIM
ridzwanr@nstp.com.my
RIDZWAN A. RAHIM
ridzwanr@nstp.com.my
1 of 2
Gan (right) and the writer moving in tandem to the beat of the local cartooning scene
RIDZWAN A. RAHIM pays tribute to fellow cartoonist Cedric Gan for inspiring him to greater heights
THERE are two things I would like to thank Cedric Gan for. One, for hooking me up with the visually impaired community. It provided me with tonnes of story ideas for this newspaper. Two, for making me draw cartoons 24 hours straight a few years ago. It opened my eyes to the kind of superhuman feat I am capable of. Gan, 40, the guy I’m working with for this week’s Facing The Climate cartoon exhibition, is a fellow cartoonist and long-time collaborator who I have known for seven years. An accountant by training, his day job is in real estate. At work, our paths never cross. During leisure, we do not hang out together either. The only thing that brings us together is cartoons. We use it as an excuse to meet. Once in a while, he would come up with project ideas and storylines and I would edit and illustrate them. I first met him in 2003 while working for the NST Computimes pullout and drawing comics part-time. He called me at the office, introduced himself as Cedric and told me he had plans for our local cartooning industry. “We are sitting on a gold mine!” he exclaimed excitedly. Years later, I would joke that the reason I said yes to his plans was because I heard his name wrong. I thought he said Cerdik. We had a good laugh. Anyway, one of the projects that we embarked on was something called Cartoons 4 The Blind. We wanted to see if it was possible to create sequential art humour using only Braille and shapes. We consulted with the people at the National Council for the Blind Malaysia for the project.
Well, the project tanked but I kept in contact with my blind friends. Over the years, they have been feeding me with all sorts of ideas, many of which became articles that my editors and I are happy with.
We did stories about blind people who go bowling, blind people using computers, a guy who became blind after an accident but went on to become a national sprinter and a blind man who taught himself to use the iPhone. I learnt a lot from the visually impaired. I learnt that they work and play and marry and have families and some also go through divorce. I learnt that they triumph and fail just like other people. They have become less of a curiosity and more of a peer. I also learnt that the blind, too, laugh at jokes, just that what tickles their funny bones may not be all that funny to the sighted and vice-versa.
Gan is also well-known within the cartooning circle as an event organiser. Through his company Cedko.com, he has organised the 2006 Cedko Cartoonist Conference and two Malaysian 24-Hour Comics Day events. I have taken part in all the events but the ones I am most proud of are my participation in the two 24-Hour Comics events.
What is 24-Hour Comics Day? It is when cartoonists from all over the world take the challenge to create a 24-page comics story — normally months of work — within 24 hours. Some gather at official event sites while others work on their stories alone at home or at private gatherings. I wasn’t keen on taking part initially. I had too many things on my mind. My marriage was in shambles. In fact, I had to attend court the following week. But I participated anyway and the first Malaysian 24-Hour Comics event in 2006 saw 20 participants. Eighteen of us finished on time. The following year, the event was an even bigger success, attracting 51 cartoonists. So a whole bunch of other Malaysians were exposed to the 24-Hour comics idea. They couldn’t stop talking and blogging about the event until months after it ended. The biggest lesson I took away from the 24-Hour Comics Day was goal setting. In 2007, we started at noon Saturday and by dinner time, I had only one cartoon character and four pages to show. It was scary. But then I realised it was within me to decide whether I could finish this challenge or not. I decided that yes, I would go all out to finish it, and I did.
As with many things in life, it takes a decision to finish a 24-hour comic. So this is why I am thankful to have a friend like Gan who, in his unique way, touched my life and that of others like me. The Facing The Climate exhibition, organised by the Swedish Institute and the Embassy of Sweden Kuala Lumpur, sees Malaysian and Swedish cartoonists giving their take on sustainability and climate change. It is on till Sunday at Ikano Power Centre in Mutiara Damansara, Selangor.
The organisers asked for just a few cartoon contributions but Gan and I submitted 10. I guess we panicked.
__________________________________________
MUSINGS BY MARINA MAHATHIR
*Cartoonist Lat has this gift of being able to sharply skewer people
without seeming to do so. And this is where his lampooners can draw
inspiration from. *
IF THERE were anyone who is genuinely a Malaysian household name, it
would be Lat. For several decades now, Lat has been the only cartoonist
for most of us, making us laugh at ourselves even while he tells us some
truths about ourselves.
Who can forget the way he pokes fun at our attitudes towards driving,
queuing, eating and our relationships towards each other? Or the way we
interpret government policies?
Lat's characters are memorable because they are larger-than-life
versions of people we are familiar with. There is the big fat teacher in
her cheongsam and cat-eye glasses, the Chinese boy with the buck teeth
and beansprout posture, the Sikh policeman and the /ayu/ Malay girls
with their winsome smiles and curly eyelashes.
Larger than life: Three animated vignettes of the cartoonist, entitled
'Lat's Window to the World', premiered in Kuala Lumpur not too long ago,
backed by live music by the Malaysian Philharmonic Orchestra.
He also draws cartoon versions of real-life characters, mostly
politicians and public figures. I knew Lat from the days when I worked
for a publishing house and he used to say that drawing people who are
too handsome is difficult.
People need to have a defining facial feature -- a prominent nose
perhaps -- for him to be able to do a recognisable caricature of them.
Once we recognised them, we knew what he was trying to say about them.
Indeed, having Lat draw you was the ultimate sign that you'd arrived.
Lat has this gift of being able to sharply skewer people without seeming
to do so. He makes us see the funny side of people because we know
there's some truth in it, even when he's saying something critical about
them. For that we love him, and even those he caricatured held him in
great affection.
Lat's cartoons are in a mainstream newspaper and he's published many
books of his cartoons. So lots and lots of people read him and laughed
(and sometimes cried) at his stories.
We all know what the funniest characteristics of our politicians are, as
well as their quirks. We loved the Lat versions of them, even when we
may not necessarily like the real-life people.
As far as I know, Lat has never gotten into trouble for his cartoons. It
may be because we once had a better sense of humour, or our politicians
were once more secure. But it was certainly unheard of to prosecute a
cartoonist for anything.
Today we actually arrest cartoonists for sedition! Which is not only
ridiculous in itself, but considering that the cartoonist in question
publishes in an online subscription-only news portal, and is far from
known to a lot of people, such action is a sign of paranoia gone to
extremes.
Cartoonists, like columnists, are allowed to have opinions. And they do
take sides. Just look at some of the mainstream political cartoonists.
The assumption however is that there is only one side to take and it's
not the one contrary to the Government's. So once a cartoonist takes a
different view, then it's all panic stations.
Yet, if you asked most people if they knew who this cartoonist was,
they'd probably say they'd never heard of him. But with this fiasco,
they do and are probably on the lookout for his cartoons even though his
books have been banned.
What's more, there are probably lots more aspiring cartoonists busily
drawing even more cartoons for dissemination among fans right now. And
none of them will be flattering.
There is a real problem with censoring writings or drawings on grounds
they might be a "threat to public order". Even worse, when the
publications in question are really quite obscure, their very obscurity
is proof that they have not caused any public disorder.
One of the more ridiculous recent cases was when an academic book was
banned after two years in the bookstores for the same reason. It's not a
book that anyone would really read unless they were particularly
interested in the subject.
If there is anything that needs censure, it's the negative influences of
mass-market publications and TV shows because they reach far bigger and
more susceptible audiences.
Anyone so inclined can compile files and files of nasty articles from
these publications geared to incite people to do bad things, especially
to people different from them. Now if that's not a threat to public
order, I don't know what is.
But nothing ever happens to them. That could be interpreted as the
Government respecting media freedom, except that they aren't as
respectful of those who have contrary views.
And this is the silly thing. Those advocating greater tolerance and
understanding, who have a clear-eyed view of the problems and present
solutions, are the ones who get censured. Those who accuse and incite,
don't.
Is the world dangerously topsy-turvy or what?
____________________________________________________
Friday September 3, 2010 (THE STAR)
Journalist charged over TNB parody in blog posting
By NURBAITI HAMDAN
nurbaiti@thestar.com.my
PETALING JAYA: The Malay Mail’s lifestyle and entertainment executive editor Irwan Abdul Rahman, 36, has claimed trial to making a false blog posting relating to Tenaga Nasional Berhad (TNB) and the Earth Hour campaign.
The journalist-cum-cartoonist pleaded not guilty when the charge was read out to him at the Sessions Court here yesterday.
Irwan Abdul Rahman The tongue-in-cheek article, titled “TNB To Sue WWF Over Earth Hour,” claimed that the national corporation would be suing WWF for organising the worldwide campaign which was costing them “millions in unrealised revenue.’’
The offence under Section 233(1)(a) of the Communication and Multimedia Act carries a maximum fine of RM50,000 or maximum one-year jail term or both.
Deputy Public Prosecutor Badius Zaman Ahmad applied for the court to impose RM5,000 bail.
However, counsel Jahaberdeen Mohamed Yunoos, who stood for Irwan, pointed out that Irwan was the one who turned himself in.
“He (Irwan) could have easily run away but he did not,” he said, describing it as “a bizarre case” as this was the first time a satirical blogger, whose entire blog was based on parody, was accused in court.
Sessions Court judge Hayatul Akmal Abdul Aziz then set bail at RM4,000 in one surety.
Red Berry Media Group’s advisor Datuk Ahirudin Attan stood as bailor. The court fixed Nov 24 for mention.
Irwan later told the press that he has maintained the blog for one and a half years.
He said he removed the blog post two days after posting it when he saw an unusual spike in the site’s visitor numbers.
Friday September 3, 2010 (THE STAR)
A new light on the comics scene
Worlds of Wonder
By RIZAL JOHAN
The 99, the world’s first superheroes based on Islamic culture and society, has grown steadily in the comics scene.
Until very recently, the general realm of comic books permeated either in the Western and the Far Eastern world. The conception of comics is, more often than not, associated with the Western costumed superhero archetype and the dynamic Japanese “manga” titles seemed to describe the two popular sources of comic book culture. And they are, but there is a new phenomenon in town who has introduced something completely new in comcis. He is Kuwaiti-born Dr Naif Al-Mutawa and the flagship title of his comic book, The 99, is based entirely on Islamic values, culture and history.
Naif founded the Teshkeel Media Group with the intent of “creating, re-engineering and exploiting all forms of children’s media based on or infused with localised culture, beginning with a proprietary superhero concept.”
Engrossed: A boy reading a copy of the The 99 comic book at his school. Jabbar the Powerful, the alter-ego of teenager Nawaf Al-Bilali, is the first of 99 superhero characters in an Islamic culture-based comic book series. The 99 consist of ordinary teenagers and adults all over the world who come into possession of one of the 99 magical and mystical Noor Stones (Ahjar Al Noor, Stones of Light) and find themselves empowered in a specific manner.
The aim of the comic is to promote values such as cooperation and unity throughout the Islamic world. While the series is not religious, it aims to communicate Islamic virtues which are, as viewed by Dr Naif, universal in nature.
Not only has the comic received positive attention from the media, Forbes named it one of the top 20 trends sweeping the globe.
On top of it, The 99 caught the attention of US President Barack Obama who praised Dr Naif recently in his Presidential Summit on Entrepreneurship as one of the most innovative new entrepeneurs who is helping to spread a positive understanding of Islam.
‘We need cultural icons that do not disappoint. The 99 are those icons,’ says Dr Naif Al-Mutawa. Dr Naif, who has a PhD and a master’s degree in Clinical Psychology from Long Island University as well as a master’s in Organisational Psychology from Teacher’s College, Columbia University, has extensive clinical experience with former prisoners of war in Kuwait and the Survivors of Political Torture unit of Bellevue Hospital in New York. He is married with five children and currently has homes in New York and Kuwait city.
In an e-mail interview with Dr Naif, he spoke about his earliest recollections of reading comics, his experiences in publishing and how a comic book can very well change the misconception of Islam.
What is your earliest recollection of picking up a comic book?
My earliest recollection is picking up a comic book in a cabin at Camp Robin Hood in New Hampshire where I spent 10 happy summers and where my own children are this very minute. I remember reading Richie Rich, Casper The Friendlly Ghost and Archie. I had just turned eight and loved to read.
What are some of the comic book(s) that you read today?
I read all The 99! I also read graphic novels. But I would have to say that I am more of a novel reader than a comic book reader!
Now that you are a publisher and have received acclaim for it, is it difficult to keep the momentum going compared to when you first started out?
It’s honestly hard to keep up! Things have been amazing. We grew from one man with an idea to just under 1,000 people (at Teshkeel Media Group) on four continents.
How did you pick your editorial team of writers, editors and artists and why did you choose them?
I promised my investors that The 99 would not be another made in fifth world country production ... that it had to be Superman in terms of quality or it wasn’t worth my time or their money. So I worked with the best of the best. What I did is hire an editor-in-chief (Marie Javins) who had exerience at Marvel and she chose a group of veterans (among them are writers Fabian Nicieza, Stuart Moore, June Brigman and artists Ron Wagner, Dan Panosian and John McCrea) that she knew to be talented and reliable.
Which comic book(s) do you consider to be competition for The 99 and why?
We are in an interconnected global market. Our competitors are our partners. Is Coke really Pepsi’s competitor or do they together create an overall market that they share? I believe that our competitors/partners are the leading media superhero brands including but not limited to Superman, Batman and Spider-Man.
How has the transition been from psychologist to publisher? Was it challenging?
If it wasn’t challenging it wouldn’t be worth it! Yes, very challenging. But I have loved every minute of it. It gave me an opportunity to be a student again. I learn something new every day.
In your opinion, does a comic book have the potential to change the perception of a maligned religion, culture or people? Can it really bridge the gap?
Yes, it can. In the end it is how we tell our story that tells a lot about who we are as a people. If we tell a story rooted in the past we are like Al Bundy from Married With Children who keeps telling stories about his days in high school when his character was a shoe salesman in his 50s. We have become Al Bundy. We need cultural icons that do not disappoint. The 99 are those icons. They get their powers from our past with a clear focus on the future. The 99 can and will change the story.
> Fore more details, go to www.the99.org.
Bringing pictures to life
By ALLAN KOAY
http://thestar.com.my/lifestyle/story.asp?file=/2010/5/24/lifeliving/6296930&sec=lifeliving______________________________________________________________________________
A New Eagle is Landing
http://www.independent.co.uk/
________________________________________________________________________________
Major Change On Upin And Ipin Movie
http://www.nst.com.my/nst/
_________________________________________________________________________________
Zunar-edited cartoon mags banned
|
has banned "Perak Darul Kartun", "Isu Dalam Kartun" and
"1Funny Malaysia", all published by Zulkifli
Anwar Ulhaque or Zunar.
Home Ministry secretary-general Datuk Seri Mahmood
Adam was quoted as saying: "All three publications
have been banned for its (sic) contents that can
influence the people to revolt against the leaders
and government policies. The contents are not suitable
and detrimental to public order."
Licensing offences under the Printing Presses and
Publications Act 1984 are punishable by up to 3 years'
imprisonment or fines of up to RM20,000 or both for
printing, publishing, selling and possessing prohibited
materials or contents.
Last year, the Zunar-edited "Gedung Kartun" had been
seized and banned as well by the ministry.
Zunar, at Cartoonkafe.com, posted: "From the business
perspective, this action by Ministry of Home Affairs
had cause considerably large amount of losses to my
company. It is estimated amount of loss may climb to
RM50,000 to RM80,000 with the returning of the
publications from the vendors."
He demanded that the ministry explain the definition
of "content will influence public perception against
on country's leadership and government policies.
Thus, they not suitable for reading by the public and
may jeopardize public order."
He also wanted the ministry to identify which cartoon
of the 312 cartoons is categorised as "a threat to
national security and not suitable for reading by
the public."
"I am responsible of all my cartoons and willing to
face law if I break any of them," Zunar wrote.
He concluded: "The government can ban my books.
They government can ban my magazine. But the government
cannot ban my mind. "I WILL NOT STOP DRAWING TILL
THE LAST DROP OF MY PEN." (I think he meant the last
drop of INK from his pen.)
_______________________________________________________________________________
Temubual oleh Berita Harian : Di Sebalik Nama Sarah kenabuli
http://www.bharian.com.my/bharian/articles/DiSebalikNama_Sarahkenabuli/Article/index
_______________________________________________________________________________
BAKAT MUDA SEZAMAN 2010
http://www.artgallery.gov.my/web/guest/bakat_muda_sezaman
__________________________________________________________________________
email from hafidzm
M'sians shortlisted for 4th Morning Int'l Comic Competition
Kodansha's 4th Morning International Comic
Competition (formerly Morning Int'l Manga
Competition) has shortlisted two Malaysians
as finalists (last year two Malaysian
entries were finalists as well).
The two shortlisted works, which are advancing
to the final round, are:
1) Ivan Song's "Cry Baby"
2) Yap Zhuo Yang's comic (the title is in
Chinese characters so I can't read it)
http://morningmanga.com/micc/
This contest has a grand prize of US$5,000 and two
second prizes of US$2,000 each.
Two Malaysians, Hwei-Lin Lim and Kathryn Chong,
have previously won the 2nd prizes (in the first
and second MIMC competitions, respectively).
Can we win the grand prize this time?? The grand
prize winning work will be featured in "Morning" comic
magazine, with a circulation of over 400,000.
The announcement should be made soon. Last year the
results were announced in March, and this year they
were supposed to announce it in March, too.
Then it seemed like it was delayed to June. But it
looks like there's been a delay again~~~
To read "Cry Baby", go to:
http://www.mangada.net/comics/
_______________________________________________________________________
