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RISS 인기검색어
- 검색키워드
- 저자 : ASAARI, Azlina Bt (검색결과 2 건)
- 무료
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Saka and the Abject : Masculine Dominance, the Mother and Contemporary Malay Horror Films
AZIZ, Jamaluddin Bin,ASAARI, Azlina Bt 이화여자대학교 아시아여성학센터 2014 Asian Journal of Women's Studies(AJWS) Vol.20 No.1
Malay horror films have made a comeback since the government of Malaysia in 2004 gradually relaxed the ban. Since then, Malaysian cinema has been flooded with horror films, and this causes concern among politicians as they argue that horror films can impede the growth of the mind, as the values perpetuated by horror films are seen to go against the government’s effort to promote scientific and critical thinking among Malaysians. We argue that understanding the current view that consigns this film genre to the feminine side of the binary system, hence, the irrational as opposed to the rational or masculine, is one of the reasons for such concern. Employing Julia Kristeva’s concept of abjection in the tradition of feminist psychoanalysis as the theoretical framework, this paper looks at the mother character and her relationship with Saka in a contemporary Malay horror film to reveal the ideological work of such masculine ideology. Saka is a mystical figure that is “invited” into a family and is passed down through the matrilineal line from one generation to the next. We argue that even though Saka is used as an entrapment for female liberatory possibilities, it ironically mirrors the destabilization of masculine dominance. We do this by illustrating how female characters in the genre are typecast and Saka functions as a masculine substitute that reinforces this idea, which ultimately is used to investigate female sexuality; hence, playing the typical role of masculine ideological dominance. Filem Seram telah muncul kembali setelah dilonggarkan syarat oleh kerajaan Malaysia pada tahun 2004. Sejak itu, terdapat kebanjiran filem seram, ini menjadikan satu fenomena yang merisaukan ahli politik yang membahaskan yang kebanjiran ini mampu membantutkan permikiran kerana nilai yang disampaikan oleh filem seram ini bercanggah dengan usaha kerajaan untuk mempromosi permikiran saintifik dan kritikal. Kami membahaskan bahawa dengan mencampakkan genre seram ini ke bahagian feminin dalam system binari, yakni yang tidak rasional berbanding sifat maskulin yang dikira rasional, adalah satu punca isu ini. Dengan menggunakan konsep abjection oleh Julia Kristeva dalam tradisi feminis psikoanalisis sebagai kerangka teori, makalah ini melihat kepada watak ibu dan hubungan beliau dengan Saka dalam satu filem seram kontemporari untuk merungkai ideologi maskulin yang terdapat dalam teks filem ini. Saka adalah satu kuasa yang diundang ke dalam sesuatu keluarga dan biasanya diturunkan melalui sebelah ibu. Kami membahaskan walaupun Saka digunakan sebagai satu perangkap kepada kemungkinan wanita untuk bebas, ia secara ironisnya mencerminkan ketidakstabilan dominasi maskulin. Kami membuktikan ini dengan menyatakan yang wanita dalam genre ini tidak progresif dan Saka berfungsi sebagai pengganti maskulin yang mengukuhkan dakwaan ini, yang akhirnya menyiasat seksualiti wanita. Hal ini menjadikan mereka alat memainkan maskulin yang dominan.
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Saka and the Abject: Masculine Dominance, the Mother and Contemporary Malay Horror Films
Jamaluddin Bin AZIZ,Azlina Bt ASAARI 이화여자대학교 아시아여성학센터 2014 Asian Journal of Women's Studies(AJWS) Vol.10 No.1
Malay horror films have made a comeback since the government of Malaysia in 2004 gradually relaxed the ban. Since then, Malaysian cinema has been flooded with horror films, and this causes concern among politicians as they argue that horror films can impede the growth of the mind, as the values perpetuated by horror films are seen to go against the government’s effort to promote scientific and critical thinking among Malaysians. We argue that understanding the current view that consigns this film genre to the feminine side of the binary system, hence, the irrational as opposed to the rational or masculine, is one of the reasons for such concern. Employing Julia Kristeva’s concept of abjection in the tradition of feminist psychoanalysis as the theoretical framework, this paper looks at the mother character and her relationship with Saka in a contemporary Malay horror film to reveal the ideological work of such masculine ideology. Saka is a mystical figure that is “invited” into a family and is passed down through the matrilineal line from one generation to the next. We argue that even though Saka is used as an entrapment for female liberatory possibilities, it ironically mirrors the destabilization of masculine dominance. We do this by illustrating how female characters in the genre are typecast and Saka functions as a masculine substitute that reinforces this idea, which ultimately is used to investigate female sexuality; hence, playing the typical role of masculine ideological dominance.
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