【正文】 nalyear students’ animation projects. A number of these works reflect the various races’ and nation’s heritage and identity. Works that stand out are Zhang Kong Wah’s student project, Coral Reefs (Bunga Karang) (1993), the earliest fulllength student project, about the tragic death of a Malay fisherman who bees obsessed with sunken treasure. This film was manuallyanimated and painted. Another student, Alan Aziz, studied animation in Poland but came back to Malaysia to develop a local story for his Singapore Overrun by Swordfish(Singapura Dilanggar Todak) (Aziz2020).The story was based on the wellknown legend of a fishing village and how a boy saved the villagers from was manually animated but finished digitally. Tan Jin Ho’s 3D film, A Malaysian Friday (Tan 2020), became the rave of the industry and won some awards, including the PrimeMinister’s Merit in the lineup are Mohd Zahir Zainal Abidin’s Cutt! (2020), Teo Yong Jin’s Coffeeshop (2020),Shairul Azwani Omar’s Behind Doors (2020),Gui Tien Chien’s Revolution (2020), Noor Azera Sohri’s Light (2020), and Vimala Perumal’s Lord of the Dance (2020). All these films are Asian in character and make use of Malaysian stories and characters, with some of them reflecting the racial, social and religious backgrounds of the filmmakers. Some of the recurring motifs used are batik and wayang kulit, the Malay shadow Diffan Sina’s Woman of the Cosmos (Wanita Kosmos) (2020), is a sly dig at Malaysian life (specifically, Muslim and Malay). A woman with a head covering (tudung), is selected to go into outer space with some Russians astronauts. She returns, is awarded the honorific Dato’, gets married– and then gives birth to a blueeyed baby soon after! Conclusion The addition of Heritage (Warisan), to the functions of the Arts and Culture Ministry recently,39 actually augurs well for the local entertainment industry. The entertainment industry in South Korea has for a long time now been rightly designated a culture industry. Malaysian works, be they film, video or digitallycreated, will one day be the nation’s heritage. And it is all the more urgent now to create local content, as more extremely wellmade foreign productions are swamping TV stations, and are targeted at children. In 2020, ASTRO, the satellite station, launched more than 600 new animated TV series on its Disney Asia channel, as reported in the local newspaper (Utusan Malaysia 2020). It is important to understand that ‘cultural production, business, and the government are inextricably connected, and, in fact, it is frequently the mon ‘interests of business and governmentthat produces culture’ (Smoodin 1993:136–137). Source: Hassan Abdul MUTHALIB ,2020“From mousedeer to mouse: Malaysian animation at the crossroads”, InterAsia Cultural Studies, Vol 8, , . 譯文 ： 馬來西亞的動畫產(chǎn)業(yè)處于十字路口 從鼷鹿到老鼠：馬來西亞的動畫產(chǎn)業(yè)處于十字路口 馬來西亞的第一部動畫 連續(xù)劇于 1995 年出現(xiàn)在銀幕上。除了幾 家電影制片廠的產(chǎn)品外，其他的動畫產(chǎn)品質(zhì)量都不合格或者僅處于平均水平。最后會介紹外國對馬來西亞動畫繪制者在敘述、設(shè)計和技術(shù)上的影響，以及馬來西亞的特點是否正在形成。和之前 RTM委托生產(chǎn)商相比，現(xiàn)在它決定形成公開投標(biāo)的系統(tǒng)。而當(dāng) RTM 委托給各個工作室的生意只有每季度 13 集動畫時，問題就變得更嚴(yán)重了。 動畫專業(yè)畢業(yè)生的災(zāi)難 動畫專業(yè)的畢業(yè)生已經(jīng)陷入窘境。動畫繪制者被要求擔(dān)任上述多重角色，甚至在有的時候，他們還要給動畫配音！ 形成國家特點 形成能夠反 映國家藝術(shù)、文化和馬來西亞民族傳統(tǒng)的國家特點是很困難的事，尤其是馬來西亞還是個多民族國家，但是政府已經(jīng)提出了這一要求。這很符合馬來觀眾的口味，但是不會講馬來語的人理解起來就比較困難了，這直接導(dǎo)致動畫的發(fā)行量減少?！?Sang Wira》的主角就是對多拉 a 夢的翻版，其他的配角安迪和西西則看起來像皮卡丘和達保。這個電影是人工設(shè)計和繪制的。《來自宇宙的蒂夫西納的女人》，是對馬來西亞生活的挖掘，一個包著頭的女人，被選上和一些俄羅斯的宇航員去外