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LAYAR SINEMA:NORMA BAHARU TAYANGAN FILEM TEMPATAN

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DI SEBALIK CERITA KONTROVERSI COMOLOT

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NABIL AQIL BERAKSI 'PANAS'?

Nak tahu apa yang panas minggu ini?. Nah kami sajikan 5 video terhangat minggu ini.

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Khamis, 5 Januari 2017

THE GREATER PRISON OUTSIDE : APPRENTICE BY BOO JUNFENG.


The films that fascinate me are those that depend a lot on stylistics to tell the story. In fact, that’s what films are all about - how a director tells his stories using the cinematic apparatus. The stylistics used by a director are pointers as to what a film is really about. In the mise-en-scene are clues scattered throughout the movies that, when attention is paid to them and their place in the grand scheme of the director, reveals the background story (as opposed to the foreground story - the ones we are seeing on the screen). This background story is what the writer/director really wants to get across - be it about people, society or the nation at the time the film is made. And when form is achieved through the stylistics, then what we get is truly - cinema.

Within the poster design of Boo JunFeng’s Apprentice itself are elements that already tell us about the tragedy that is going to take place in the film. Aiman (the apprentice executioner) is in silhouette; he is seen from the back with the interior of the prison and in one-point perspective. All these are negative indexes. The look is that of a horror movie but this is not a horror movie. So what is this horror that we are going to witness?

Some clues are in the casting. Casting is about depicting archetypes - or as in the case of Apprentice - characters that go against archetype. All the characters in the film - Malay, Chinese and other inhabitants of Singapore - appear to be a very confused people. Some (the Malays), are more confused than others. This is shown in a number of subtle ways: Aiman and his sister, Suhaila are Malays but they look more like Chinese. Suhaila ‘s voice is more manly while Aiman’s is the opposite. There is no indication of their Malay identity, either in their manner or in the decor in the flat that they live in. Suhaila is fed up with her life and no longer wants to look after their grandparents. The latter’s complete absence in the story is an indication of how little they figure in the lives of the brother and sister. Both have abandoned all semblance of their Malay culture and religion which extol looking after older folk. Suhaila is fixing to run off to Australia with her boyfriend, John (who is an Indian), leaving the land of her birth. John is never seen except once and even then, in the distance. He is also not shown when Aiman stumbles upon him and Suhaila in the bedroom. He is an non-entity.


Rahim, the master executioner, with his white hair, beard and moustache is the epitome of a Malay guru of the villages. When he ‘discovers’ Aiman, it is as if he is a guru of ancient days who knows if a student is capable of study or not. We see him showing Aiman the ropes (no pun intended!); he is conversant - and concerned - with the way a prisoner dies when hanged. Death must be instantaneous. That is the humane way for him. He knows which vertebra of the neck will snap. He knows the correct type and quality of rope to use. And Aiman, like the archetypal Malay student who has surrendered himself to the guru, picks up the trade fast, impressing Rahim in the process. But it is all a sham for both of them. Slowly we begin to find out that it is all a show as Rahim finds out the truth about Aiman- that his father had been hanged in that very prison. And Rahim was the hangman! Rahim’s world collapses. He loses his cool. Gone is the confidence and bravado he had built up over the years. He bawls out Aiman. He becomes impatient with drivers on the road and finally speeds and ends up in the ICU after a serious accident. He is no longer shown in the story and is, obviously in a coma. He, too, ‘ceases to exist’ like Aiman’s grandparents and John.

The Chinese, on the other hand, have come to accept their fate. Two Chinese males are to be hanged. Aiman’s visit to one of their families confirms Rahim’s sham. The mother-in-law tries to prevent Aiman talking to the condemned man’s wife who is in tears.. The mother and daughter are seen from outside with the doors grills as if ‘imprisoning’ them. The mother tells Aiman that he has the wrong house when in fact, it was the right one. But Rahim lies to the condemned man, saying that it was his father-in-law who had actually dissuaded her from seeing him for one last time.  

The other condemned man has teenage twin sons. As Aiman rides in a taxi to the prison to hang him, he passes a park where the sons and friends hold a candle light vigil. They have accepted the situation but are unable to do anything about it. The system rules. This is quite a long scene and Aiman is clearly seen to be in confusion. Gone is his original objective of wanting to help the inmates but now he has been pulled into the system. He is now the one who actually needs help. Significantly, a Chinese officer who is next in line to be the hangman withdraws, not having the heart for it. He cannot take a life.


Setting is another archetype. The interior of the prison is shot usually looking dark or lit in a manner where it looks sickly. But when Aiman and Rahim (the executioner) are outside in the city, it is similarly seen to be dark. Either it is shot at night time (a negative index) or was colour-graded to be on the dark side. Rides on the MRT are claustrophobically shot with bars and grills prominent within homes.  The lives of people outside the prison are no better than of those inside. Everyone is a prisoner

Apprentice does not call for great acting performances from its actors. They just needed to understand their function in the story. In the hands of director Boo JunFeng, the actors are akin to props. They just needed to move and behave the way he wanted them. The rest would be taken care of by the cinematic apparatus. All were to be in the service of the story. Apprentice is, surprisingly for its subject matter, a plot-driven story and not a character-driven one. It is not just about a story that takes place inside a prison where they execute prisoners on death row. The stylistics speak of the greater prison that is outside - Singapore itself - where the inhabitants appear to be also on ‘death row’. They, too, are like props, pawns in a system who have to behave and live their lives according to something that has been dictated and over which they have no control.

All that the people can do is to accept their fate and be slaves to that system. The closest they can get to protest against it is to light candles and silently pray for salvation. In Eric Khoo’s film, 12 Storyes (1997), the young Meng, an authoritative and protective brother of a teenage girl, has total faith in the system and tries to impose it on his wayward sister. The truth hits him really hard when he can no longer rationalise things according to the system. He finally loses his mind and is carted off to hospital. The character was brilliantly played by Koh Boon Pin who plays ASP Joseph, an administrative officer in Apprentice. In Apprentice, Koh clearly understood his role. Throughout, he has a tired, expressionless face and looks like a man who has given up all hope for life.


Twenty years after 12 Storeys, the situation is still the same. The dark and murky opening scene of an impending execution in Apprentice is purposely ambiguous. And that visual depiction says it all about life for the country’s populace and their future. This scene is actually the last scene in the film. Aiman is now the hangman preparing to carry out his duty. The two scenes represent a cycle - one that will keep on getting repeated. For the condemned man, his life ends there and perhaps, the hangman would have sent him ‘to a better place’ (Rahim’s last words to the other man he had hanged). But for the living, life continues to be a nightmare. It is, in fact, a state much worse than death...  

by : Hassan Abd. Muthalib



Rabu, 4 Januari 2017

KERJASAMA STRATEGIK ANTARA GLOBAL STATION, USAS DAN ASTRO MELALUI PENERBITAN DOKUMENTARI PERADABAN DUNIA ISLAM.


Memorandum Persefahaman Penerbitan Dokumentari Sejarah Perkembangan Islam di Dunia telah dimeterai di antara Universiti Sultan Azlan Shah (USAS), Global Station Sdn Bhd dan Measat Broadcast Network System Sdn Bhd (ASTRO) telah diadakan di Universiti Sultan Azlan Shah (USAS), Kuala Kangsar pada 4 Januari 2017. 

Dokumentari yang mengisahkan tentang zaman kegemilangan penaklukan islamiah pada abad ke-19 dengan merujuk kepada aspek perundangan dan cara hidup ini juga memberi penekanan kepada unsur fikah, sirah, dan senibina islam sebagai inspirasi dalam konteks peradaban dunia islam. Kejayaan meneroka dunia tanpa sempadan dalam menterjemahkan pemikiran sejagat ini dihuraikan dalam sebuah penerbitan eksklusif yang bakal memulakan penggambaran tidak lama lagi. Usahasama penghasilan dokumentari ini merupakan produksi di bawah naungan Uthmaniyah dan Dokumentari Nur Hikmah. 

Ketika ditemui media, Dato' Mohd Khusairi Abdul Talib, Pengerusi FINAS menyifatkan penerbitan dokumentari antara Global Station Sdn Bhd, Astro dan USAS ini merupakan usahasama yang julung kali dilakukan. Ia bertujuan untuk mendedahkan kepada khalayak penonton tentang kefahaman dunia islam secara terperinci melalui beberapa fakta dan visual yang disajikan. Keistimewaan dalam aspek cara hidup tanpa melupai asal usul menjadi aspek terpenting dalam pembikinan sebuah naskhah. Tambahnya lagi, pihak FINAS amat menyokong penuh dengan usahasama dalam menghasilkan sebuah cerita yang menarik dan unik serta mempunyai daya pemikiran dan sahsiah yang tinggi dalam garapan penceritaannya, seterusnya dapat menerokai pasaran antarabangsa di seluruh dunia melalui penyertaan Astro sebagai rakan penyiar.

'Dalam usaha memberikan kandungan rancangan yang berkualiti tinggi dan terbaik kepada pelanggan setia kami, penerbitan dokumentari ini merupakan projek unggul bagi tahun 2017 dan melaluinya juga, kita dapat mengetahui selok belok sejarah dan tamadun islam pada zaman dahulu. Ia idea yang sudah lama diperbincangkan bersama, dan apabila Global Station menyatakan hasrat untuk menghasilkannya, kami terbuka dan bersetuju untuk bekerjasama', ujar Dato' Khairul Anuar Salleh, Naib Presiden Melayu Astro dengan nada penuh keterujaan melalui jalinan kerjasama antara Universiti Sultan Azlan Shah, Global Station dan Astro sendiri. 


Manakala Penerbit Global Station Sdn Bhd, Datin Zaiton Mohd Jiwa pula berpendapat, 'sejarah zaman silam terutamanya dalam konteks peradaban islam merupakan aspek yang cukup menarik untuk dibincangkan. Ia menjadi tanda aras kepada penerbitan dokumentari ini yang mendapat kerjasama penuh dari Universiti Sultan Azlan Shah, Kuala Kangsar dari segi fakta dan kajian melalui penglibatan beberapa tenaga penyelidik yang professional dan bertauliah. Ini jalinan kerjasama yang cukup membanggakan kami sebagai pengkarya,' ujar penerbit wanita yang cekal dan berdiri kukuh di sebalik jenama Global Station itu melalui ratusan beberapa buah drama terbitannya. 

Dokumentari yang mendedahkan secara terperinci tentang tamadun islam dan Uthamaniyah ini memilih Turki sebagai salah sebuah lokasi penggambaran dan bakal menemui penonton tempatan dan antarabangsa hujung tahun 2017 dan awal tahun hadapan. 


Majlis bersejarah ini juga dihadiri oleh YBhg. Tan Sri Prof Dr. Nordin Kardi, Naib Canselor Universiti Sultan Azlan Shah, YB Dato' Mohd Khusairi Abdul Talib, Pengerusi FINAS, YB Dato' Mohamad Kamil Shafie, Ahli Dewan Undangan Negeri Manong, Dato' Khairul Anwar Salleh, Naib Presiden Perniagaan Melayu Astro dan Datin Zaiton Mohd Jiwa, Penerbit Global Station Sdn Bhd.

Selasa, 3 Januari 2017

COMMUNICATIVE EXPERIENCE AND VISUALLY DERIVED CONCEPTS: DECODING DAIN SAID'S CINEMATIC STRUCTURES IN 'BUNOHAN' & 'INTERCHANGE'


"There is nothing that says more about its creator than the work itself"- Akira Kurosawa

The emotional journey of watching Bunohan (2012) as a normal audience had reinforced me to view the film uncritically; “gila cantik gambar” (great visual), “power Faizal Hussein berlakon”(great acting), “art deep sungguh” (artistic). Undeniably, award winning director, Dain Said managed to challenge me to immerse into the totality of the film experience and to interpret how that experience was assembled as Bunohan was beautifully constructed of visual, aural, and linguistic components that were strangely manipulated in unique ways.

As film has been the powerful medium to communicate and transfer messages, visual communications in Dain’s works signifies the transmission of information and ideas using symbols and imagery along with verbal communication and non-verbal communication. For example, the study of semiotics and semantics of symbols and visual communications in Bunohan and Interchange could be either straightforward or complicated for Malaysian audiences as it is highly associated with their social and cultural background. 

Decoding, interpreting and comprehending communication styles used by Dain Said in these two films is very essential as it helps the audiences to understand the films' cinematic structures. Thus, let us study the basic simple premise of Bunohan (2012), starring Faizal Hussein, Pekin Ibrahim, Zahiril Adzhim and Wan Hanafi Su that revolves the story of how three brothers, each with a murderous profession, flee their home country and family only to find themselves back together in the titular small border town where they are forced to deal with their pasts; depicting on familial connection, brotherhood and corruption of society in tackling fame and wealth. 


Interchange (2016) stars Iedil Putra, Shaheizy Sam, Nadiya Nissa,Nicholas Saputra and Prisia Nasution, on the other hand tells about the forensics photographer Adam who is dragged into investigating a series of macabre ritual murders in the city by his best friend Detective Man and Adam then befriends Iva who is on a mission to rescue souls of the people in her tribe who have been trapped inside a glass plate negative. 

I personally believe despite being avant-garde surrealist filmmaker who remains intent on subverting the local conventional filmmaking and exploring the realms of his cinematic capability, Dain Said, pertinently has also been standing as social and cultural anthropologists of visual communication; studying and telling the norms and values of societies and providing highly coded and selective information about the social lives of the local focused community or subjects.

●Space and Proximity
Bunohan and Interchange share Dain’s reflection on “proxemics” which is the use of space by the characters and how that affects the behaviour, communication, and social interaction of them. This is one of important elements of visual communication in a film that motivates the audience to understand the emotional impact portrayed by the characters via their personal territory including level of haptics (touch), kinesics (body movement), vocalics (paralanguage), and chronemics (structure of time).

In Bunohan, the three estranged brothers, Adil, Bakar and Ilham and their ailing father are separated in the “public space” of their village but interconnected “personally” after tragic incidents. Despite staying with his son, Bakar, Pok Eng emotionally struggles to reserve his personal space and avoid building intimate space with Bakar and Adil. Dain’s brilliant narrative in showing the human space used in this father-sons relationship gradually brought audiences into the development of the characters.

Carrying noir-fantasy thriller, Interchange somehow represents tactical dimension of space and proximity. The audience must be able to deeply engage on how interpersonal distances of characters, the organization of space as territories and the cultural factors related to proxemics portrayed within Man-Adam, Adam-Iva, Belian-Iva, Belian-Man and Belian-Sani relationships as it varies from one another. In the public space of Metro city, these characters strongly stand in their own personal space and develop towards special intimate space when they are emotionally and spiritually connected. 

As communication reflects the process of reciprocal interaction in understanding messages between sender and receiver, we could also analyze the space codes used in Interchange within the supernatural and mystical dimensions. How Adam and Iva using their virtual connection can be explained from Previc's Neuropsychology of 3D Space focusing on extrapersonal space; the space that occurs outside the reach of an individual. Beyond logic, audience must be convinced on the spiritual connection of Adam who can deeply immerse and embrace into the mystical spectrum of Iva and the tribe. This strong interpersonal connection within the extrapersonal space reflects the emotional journey of these two characters.

Aptly, it is a cognitive learning process for the audience to be highly associated with Dain’s aesthetics approach in visualizing his bold artistic vision - confidently conjuring a world of magical shape-shifting shamans and mystical beings within the urban landscape.


●Semiotics of Acting
Let us analyze the amazingly dramatic performances of Faizal Hussein, Pekin Ibrahim, Zahiril Adzhim and Wan Hanafi Su crafted by Dain Said in Bunohan; portraying the semiotics of acting. As Bunohan communicates with the audience with subtext, symbols, metaphors and signs, the actors heavily required to project dimension of significant and meaningful performances. Thus, it is highly important for the audiences to decode transmitted signs by the actors as stressed by semiotican, Felix Guattari. 

Mysterious, naturalist and minimalist types of acting portrayed by the characters dealing with dark personality traits in Bunohan is beyond magic as they had to implicitly express anger, love, pain and struggle within their limited interpersonal communication context. Therefore, the elements of semiotics of acting include the actor's body language, gestures, facial expressions, intonation, eye contact, postures and other vocal qualities crafted by Dain in Bunohan could link the audiences to the emotional journey of each and every character.

Interchange interestingly demands Shaheizy Sam (Detective Man), Iedil Putra (Adam), Prisia Nasution (Iva), Nicholas Saputra (Belian) and Nadiya Nissa (Sani) to deliver semiotic codes and cues as introvert characters psychologically and spiritually. I could feel how Detective Man (Shaheizy Sam) had to use his persuasive and assertive non verbal gestures and postures in showing his referent power to Adam at the workplace and intimately as a caring friend. In fact, just analyze the variation of oculesics skills (eye contact) used by Sani (Nadiya Nissa) to express her assertiveness, avoidance, interest and refusal in transmitting codes and messages to different characters in this movie. Monotonous tone of voice by Iva (Prisia Nasution) has indeed become her special instrument to convey hidden messages to Adam as she is highly reserved and private. This example of paralinguistic codes (relying on vocal cues) in Interchange is very essential as the characters come from different walks of cultural and social background which they need to communicate beyond human language.

Undeniably, Dain had to define, visualize and measure their traits as well as habitual patterns of behavior, thought, and emotions as illustrated by semiotician, Patrice Pavis: 

“Any acting is based on a codified system (even if the audience does not see it as such) of behaviour and actions that are considered to be believable and realistic or artificial and theatrical. To advocate the natural, the spontaneous, and the instinctive is only to attempt to produce natural effects, governed by an ideological code that determines, at a particular historical time, and for a given audience, what is natural and believable and what is declamatory and theatrical”

The ability of audience to explore the semiotic of acting portrayed in Bunohan and Interchange nevertheless driven by their level of exposure to visual adaptation, interpretational awareness and cinematic techniques. The positive reinforcement (perceptual, cognitive and emotional processes) of watching Bunohan as first hand experience could drive and educate the audience to embrace the similar cognitive states while watching Interchange although they both carried different styles.


●Cinematic Storytelling: Visual Metaphors
It has been an amazing journey and learning experience watching Bunohan and Interchange as both signifies Dain’s solid signature in crafting a unique language of metaphors and symbols as a visual storyteller. His both films positively reinforced audience to comprehend and interpret abstract concepts which hardly translated into words.

Thus, the communication process takes place when the audiences decode and give meanings to series of visual metaphors and symbols mapped out and established in Bunohan by Charin Pengpanich’s expressive cinematography; capturing the mythical and mysterious elements of rural countryside in Kelantan. Dain’s cinematic storytelling was manifested and beautifully presented with a set of visual images embedded under the additional layer of metaphoric meanings of magical sequences of a talking bird, a ghost-woman in the shape of crocodile, and a possessed boy. 

Besides, the dynamic metaphor of kelir wayang kulit and kerambit used by Ilham clearly established the spectrum of struggle and hope in dealing with obstacles and hurdles.
In Interchange, the visual metaphors used required a specific contextual understanding in order to decode and appreciate the messages. As a dark fantasy noir, it has given me the cinematic experience in creating, organizing and constructing all the metaphorical signs conveyed by Dain Said. The reflection of drenched streets, flowing river, feathers of hornbill, or even the glass negative captured visually by Jordan Chiam carry an implied meaning in the journey of non-linear narrative.


●Symbolic Interactionism
Communicative experience in Bunohan and Interchange has also been shaped with Dain’s injection of symbolic interactionism as the basis of human communication. As this communication theory strongly believes that society and individuals are created based upon the interactions between each other with the ongoing use of language and gestures in anticipation of how the other will react, all the characters in Bunohan and Interchange driven and shaped by their human communication and interaction. 

In Bunohan, the political, social and cultural context of the society strongly influence Ilham, Adil and Bakar to define their understanding of lives or based on power, dignity and struggle. How wealth, power and authority being defined in Bunohan carry the dominant masculine traits include courage, independence and assertiveness. The way Bakar interacts with his father using his diplomatic communication skills is pretty different from Adil who opts for persuasive styles in getting definite explanations of his background. Indeed, these traits vary by location and context, and are influenced by their social and cultural background respectively; Adil, the kickboxer, who was more or less kidnapped in the middle of a bout in Thailand; his half-brother Bakar, who has been living in the city and hopes to sell the family's land to resort developers; and a professional killer named Ilham, hired to kill Adil but also finding it necessary to redress family grievances.

Symbolic interactionism in Interchange is heavily reflected by language, symbols and images of both supernatural and reality world. As Sani, Iva and Belian undergo the process of identity exploration in the contemporary cultural and social settings, Adam and Man in contrast, assigned to understand and communicate with huge range of cultural symbols and ethnic identity of Tingang tribe while searching clues of unsolved murder cases. This association shapes how the characters communicate as collective entity and build perceptual and cognitive process of one another. Man becomes more heedful towards Belian and Sani as he interprets all the communication codes from the perspective of a detective while Adam progressively builds empathy towards Iva and her mystical journey as he could relate all the codes and cues with his personal experience.

In conclusion, Dain Said has brilliantly applied and infused distinctive communication styles in his two acclaimed movies; Bunohan and Interchange. Visual, verbal and non verbal communication styles in those movies could be explicitly and implicitly manifested through some areas namely proxemics, semiotics of acting, visual metaphors and symbolic interactionism. The exciting journey of understanding Bunohan and Interchange from communication spectrum can bridge us to understand different perspective of this award winning filmmaker.


“I wanted to come home and tell Malaysian stories,”-Dain Said

By : Ahmad Syazli Muhd Khiar
syazli@finas.my
**Writer is the Director of Corporate Communication FINAS

Isnin, 2 Januari 2017

'GUGURNYA SEBUTIR BINTANG YANG MEKAR, KINI LAYU DISIRAMI HUJAN, TAN SRI SM SALIM, KENANG DAKU DALAM DOAMU'.


Jenazah Allahyarham Tan Sri SM Salim selamat disemadikan di Tanah Perkuburan Islam Jalan Ampang, Kuala Lumpur kira-kira jam 2.45 petang Jumaat, 30 Disember 2016.  Beliau meninggalkan isteri, Puan Sri Aishah Abdul Ghani bersama tujuh orang anak iaitu Siti Nuraishah, 60, Sheikh Samsuddin, 68, Siti Nur Huda, 56, Siti Maheran, 54, Siti Huzayah, 53, Sheikh Shamsul, 51, dan Siti Zubaidah, 35.

SM Salim atau nama sebenarnya Sheikh Salim Sheikh Muhammad Al Mahros, 88, meninggal dunia di kediamannya di Sering Ukay, Hulu Kelang, Selangor, 29 Disember 2016 , pada jam 5.45 petang. Arwah yang merupakan bekas juruhebah Radio Malaya (sekarang RTM) secara sambilan pada tahun 1957, adalah penghibur serba boleh yang mencipta nama sebagai penyanyi dan pejuang irama tradisional serta melayu klasik pada era 50an hingga 90an. 

Ketika ditemui media, Sheikh Shamsul, anak Allahyarham Tan Sri SM Salim berharap, 'semua stesen radio dan televisyen di Malaysia supaya tidak memutarkan atau memainkan lagu nyanyian arwah bapanya selama 44 hari. Ini permintaan arwah semasa hidup dan terpulang kepada budi bicara pihak berkenaan untuk melaksanakannya atau sebaliknya. Menyedari hakikat bahawa arwah bapanya merupakan seorang 'public figure', beliau mengharapkan sesuatu yang baik dari semua bagi menghormati arwah dan amanatnya. Tambahnya lagi, semasa hayat arwah bapanya masih hidup, beliau merasa amat bimbang dengan perjalanan seni muzik melayu klasik dan tradisional pada masa kini yang tidak menentu; ada yang dilupakan terus, bahkan beliau (arwah Tan Sri SM Salim) berkata 'siapa nak ganti dirinya lagi?', itu kerisauan yang berbekas di jiwa anak seni yang luhur budi pekertinya di sebalik setiap lagu dan lirik yang dihasilkannya.



'Jika dihayati bait puitis lirik lagu yang dinyanyikan serta dihasilkannya, cukup indah senikatanya. Beliau adalah mentor kepada penyanyi baharu dan pemergiannya merupakan kehilangan yang sangat besar terhadap industri seni dan muzik melayu pada masa kini', ujar penyanyi bersuara lunak, Uji Rashid ketika berkongsi sesuatu yang cukup istimewa mengenai figura di sebalik nama Tan Sri SM Salim. 'Selamat Tinggal Bungaku, Kenang Daku Dalam Doamu, Mohon Kasih, Pandang Pandang Jeling Jeling, Kong Kong Kak, Pasir Roboh', dan banyak lagi antara beberapa judul lagu popular nyanyian Tan Sri SM Salim yang begitu dekat dengan jiwa setiap peminat seni dan muzik di Malaysia, Singapura, Indonesia dan Brunei khususnya.

Kemerduan suara dan gelak ketawanya pasti akan diingati rakan seperjuangannya yang sama-sama mencurah bakti dan keringat dalam industri muzik ketika itu. 'Segala susah payah diharungi bersama. Beliau adalah rakan baik yang tidak lokek dalam berkongsi ilmu pengetahuan walaupun dengan penyanyi baharu yang ditemuinya. Beliau adalah insan yang telah membawa saya ke dalam industri ini, dan pemergiannya adalah kehilangan besar buat negara', ujar Datuk M.Daud Kilau dengan nada sedih berkongsi suka duka semasa hayat dikandung badan bersama arwah yang dianggapnya sebagai abang kandungnya dalam dunia muzik yang sama sama diceburi. 


Turut berkongsi kesedihan atas pemergian Biduan Negara Tan Sri SM Salim adalah Perdana Menteri Malaysia, Dato' Seri Mohd Najib Tun Abd. Razak, dan Timbalan Perdana Menteri Malaysia, Dato' Seri Dr. Ahmad Zahid Hamidi. 

'... Sungguh jauh dikau pergi
Berpisah untuk selamanya
Tiada lagi senyum mesra....'

Al Fatihah, moga roh Allahyarham Tan Sri SM Salim ditempatkan di kalangan mereka yang beriman dan disayangiNya. Amin.

Ahad, 1 Januari 2017

23 SYARIKAT PRODUKSI TEMPATAN MENERIMA ITFC FILEM CEREKA 2016


Sebanyak 23 buah syarikat produksi tempatan dengan 33 judul filem menerima Insentif Tayangan Filem Cereka (ITFC) di ibu pejabat Finas Hulu Kelang, Selangor pada 29 Disember 2016. Insentif Tayangan Filem Cereka (ITFC) bagi tahun 2016 berjumlah RM 2,11 juta itu diberikan kepada 23 buah syarikat produksi filem tempatan di Malaysia yang menerbitkan 33 filem cereka bagi tayangan di pawagam dalam tempoh setahun. Dato' Mohd Khusairi Abdul Talib, Pengerusi FINAS ketika berucap di majlis tersebut berkata,'ITFC merupakan insentif kerajaan melalui FINAS kepada penggiat industri kreatif yang aktif menerbitkan dan menayangkan filem mereka di pawagam. Ia sebagai galakan dan suntikan kewangan kepada penerbit filem tempatan sekaligus sebagai pemangkin kepada para penerbit bagi menghasilkan filem berkualiti untuk pasaran domestik dan antarabangsa seterusnya membina jaringan pemasaran di peringkat global.

Tambahnya lagi, beliau berharap pada tahun 2017, lebih banyak filem berkualiti dapat dihasilkan oleh para pembikin filem di Malaysia. Majlis yang turut mengumumkan Ketua Pengarah Finas dan Timbalan Ketua Pengarah Finas yang baharu itu juga dihadiri beberapa penerbit filem, ahli ahli perbadanan Finas, para presiden persatuan perfileman, rakan-rakan media dan warga industri filem kreatif. 

SENARAI 23 SYARIKAT PRODUKSI TEMPATAN YANG MENERIMA ITFC 2016.
SKOP PRODUCTION SDN BHD

SKOP PRODUCTION SDN BHD
Munafik
Mat Moto - Kami Mat Moto Bukan Mat Rempit

THE FILM ENGINE SDN BHD
Huat The Fish (Mandarin)

FILMSCAPE SDN BHD
Juvana 3

MIG PICTURES SDN. BHD
Volkswagen Kuning
Zack Kapchai
Kipidap! Selamatkan Hari Jadi

SKT STUDIOS SDN BHD
Seventh (Mandarin)

DREAMTEAM STUDIO SDN BHD
The Cage (Mandarin)

ASIA TROPICAL FILMS SDN BHD
Kungfu Taboo (Mandarin)
The Noise (Mandarin)
Find My Dad (Mandarin)
Death Trip (Mandarin)

12 B SDN BHD
Wira Wah (Mandarin)

VIKADAKAVI PRODUCTIONS SDN BHD
Geethaiyin Raadhai (Tamil)

CURRENT PICTURES SDN BHD
Redha

MANGKIN PRESTIJ SDN BHD
Pelepas Saka

JUST WORK ENTERTAINMENT SDN BHD
Behind The Scene (Mandarin)

PRIMEWORKS STUDIOS SDN BHD
Pekak

ONE BORNEO FILM PRODUCTIONS SDN BHD
Girl's Generation (Mandarin)

REDRIBBON EXPERIENCES SDN BHD
Chinese Ghost Story (Mandarin)

CAO MIN PICTURES SDN BHD
Old Town Story (Mandarin)
Road Of Enlightenment (Mandarin)

POSITVE FILM SDN BHD
Lu Mafia, Gua Gangster

MICO STUDIO (M) SDN BHD
Kampung Drift

SPS JAYA SDN BHD
Coverina
Harmonika

GENIUS PARADE SDN BHD
Selfie Suara Kubur
Jendela
Papa's Shoe (Mandarin)

ZAZEN DESIGN & PRODUCTION SDN BHD
Temuan Takdir

CAHAYA DJ PICTURES SDN BHD
Usin UFO

JANU TALKIES SDN BHD
Biasan