Hikayat sang kancil download free

At this point, an Malaysian viewers in various aspects. Adding to this, Malaysian was given a task to complete two and half minute politician also found that foreign animations contain animation within 3 months. For each minute, Johan was elements that contradict with Malaysian lifestyle [9]. To paid RM Johan Ariff had managed to animate several overcome this problem, in s, the ministry of animated characters including the panther on a three, a information took a step ahead by offering contract to few monkey swinging through the trees and the mousedeer capable companies to produce local animation.

Malaysian Animation Industry [9]. Anandam Xavier was assigned to complete the job. This According to Hassan Abd Muthalib, it is believed that time the project was made official.

Anandam Xavier was the Director General of Malayan Film Unit, Tom Hodge given several helpers including a daily paid technician to , had taken the important step by Sharifuddin Kahar and film editor A. The results are displayed in table him. He completed the work in However, the format.

In the second stage, we approached ministry of information at that time rejected the compositional interpretation method [12]. This method animation because its quality was poor. As a result, HSK enables us to interpret the visual metaphors semiotics was shelved at the information department. In , the that are found in the animation. He was impressed by the animation Animation has always been recognized as a medium and gave permisiion to release it for public viewing.

This approach may well be linked A. The term anthropomorphism originally derives from communication, November 14, , HSK was two Greek words; anthropos meaning human and premiered on RTM once during Muslim festive day of morphe meaning shape form [4]. This perception is also Hari Raya Puasa in and never to be seen again ever familiar in context of theology science [2]. According since. Because of this, we argue that a lot of issues Fisher some religions associate supernatural being gods concerning its value in terms cinematic style, animated in literal human form [6].

For instance in Greek characters and symbolic meaning are buried and remain mythology, the god of sky and thunder named Zeus is unknown to the public.

Majority do not know that the portrayed as human [12]. However in Islam the portrayal animated film exist since they have no access to the of god in human form is strictly prohibited.

In The Void material. Shirk is an Arabic educators in Malaysia. Research Questions In context of animation, anthropomorphism does not The followings are the research questions for this serve religious purpose; rather it is used as key element to study. According to Joost Rekveld, one of the 1 How the cinematic elements affect the visual challenges of animation craft is to know how to presentation of HSK?

In Understanding HSK? He states that by using familiar The main objective of this study is to analyse Hikayat human aspects, animated character can be more receptive Sang Kancil animation in context of cinematic elements, and recognizable.

Given this in mind, many anthropomorphism and visual metaphor. Methodology scene of popular culture. Mickey Mouse, Bugs Bunny, This case study uses mix method which comprises Wile E Cayote and Pink Panther are among the content analysis [15] and compositional interpretation anthropomorphic animals that are still favored by many [7].

In the first stage, we deconstructed extracted the audience. Scholar states that anthropomorphic characters sample video into individual units shots using an have a powerful drive to engage audience and invoke annotated video analysis software called Kinovea.

We emotional response. Nikki Atkinson offers this view: scrutinized each shot and identify the cinematic elements. Next we devised an instrument called Shot by during British colonial period used to portray Shot Analysis Worksheet.

For each of the codes, we anthropomorphic animals to promote anti-western and assigned numerical value. Most shots that last between 1 sec to regarding the importance of being careful and vigilant.

It 3 sec are used to highlight facial emotions. Muliyaddi in motion i. Mahamood asserts that HSK animation used animals as allegory to convey didactic message [9]. The setup is where all of the characters and their basic situation are introduced.

This is shown in the beginning part where all animals living peaceful and coexisting with nature. A problem is also introduced which drive the story forward. The second part, the conflict, is the bulk of the story. Figure 1 This is where Sang Bedal the crocodile attempts to eat 2 Setting Sang Sempuh the buffalo ; this inciting incident sets things into motion.

The setting of HSK consists of Interior 2. The exterior setting the story boils over, forcing the characters to confront it, which is the dominant element mainly portrays lushes allowing all elements of the story to come together and tropical rainforest.

This is observed through the drawing inevitably leading to the ending. Sang Kancil the of tall trees and shady atmosphere which enhance the mousdeer enters the scene and asks Sang Sempuh what feeling of peace and serene. Buaya pun bertanya pada saji. Buaya : "Saji, betulkah berbuat baik dibalas baik? Berbuat baik dibalas jahat. Di rumah, aku digunakan untuk menutup makanan. Nasi, lauk, kuih, dan apa-apa sahaja aku lindungi. Pendek kata,aku banyak menolong dan berbakti kepada tuan aku.

Kucing dan tikus tidak boleh mencuri lauk. Aku lindungi. Tetapi aku amat sedih, apabila aku buruk dan koyak,tidak berdaya lagi menutup makanan, aku dibuang ke sungai. Itulah sebabnya aku berkata berbuat baik dibalas jahat. Buaya : "Macam mana kerbau? Betul atau tidak apa yang aku kata? Kerbau berdiam diri kerana berasa cemas dan sedih. Kerbau berdoa di dalam hati supaya Tuhan menolongnya. Tidak lama kemudian, kelihatan sepasang kasut buruk pula hanyut di situ.

Sebelah daripada kasut itu tenggelam kerana tapaknya berlubang. Tetapi kasut itu bergantung kepada pasangannya dengan tali. Kedua-dua belah kasut itu hanyut bersama-sama. Buaya : "Hah, itu satu lagi benda hanyut!

Kita cuba tanya. Kasut, betul atau tidakberbuat baik dibalas baik? Kasut lalu bercerita. Setiap hari akudibersihkan dan dikilatkan. Apabila malam, aku disimpan di tempat selamat. Akujuga hanya dipakai oleh tuanku apabila pergi ke bandar sahaja. Kalau tuanku pergike tempat berpasir atau berlumpur, aku tidak dipakainya. Tetapi apabila sudah buruk,aku tidak disayangi lagi.

Badanku tidak dikilatkan lagi. Aku dibaling ke tepi tanggaselepas digunakan. Apabila malam, aku ditinggalkan di halaman rumah. Akudibiarkan berembun dan berhujan. Ketika itu juga, aku menjadi tempat persembunyian katak puru untuk menangkap nyamuk. Apabila sudah terlalu burukdan koyak, aku dibuangkan ke dalam sungai. Itulah sebabnya aku hanyut ke sini. Buaya : "Sudah dua jawapan. Engkau kalah. Tetapi aku bagi satu peluang lagi. Kalau datang yang ketiga, sama jawapannya, engkau akan menjadi habuanku.

Kancil itu pergi ke tebing tempat buaya dan kerbau. Kancil terkejut apabila melihat buaya menggigit kaki kerbau. Kancil melihat air mata kerbau berlinang. Manakala buaya pula kelihatan bengis. Kancil : "Ada apa kerbau?

Kenapa buaya gigit kaki engkau? Kami sedang menunggu hakim yang ketiga untuk mengadili kami. Buaya lalu bercerita mengenai dirinya yang ditindih batang kayu.

Kerbau datang menolong. Tetapi buaya tidak mahu membalas perbuatan baik kerbau. Buaya menganggap kerbau itu patut menjadi rezekinya. Kancil : "Tetapi sebelum aku memberikan keputusan, aku mahu tengok kejadian asalnya.

Batang pokok itu jatuhmenimpa belakang aku. Sekarang engkau pergi duduk tempat asal, tempat engkau kena tindih. Buaya melepaskan kaki kerbau lalu dudukdekat batang pokok. Kancil : "Kerbau! Cuba engkau tunjukkan, bagaimanakah kayu itu berada di atas belakang buaya?

Tunjukkan padaku, bagaimanakah caranya engkau mengangkat batang kayu itu? Kancil : "Cuba engkau bergerak, buaya! Bolehkah kayu itu diangkat? Cuba lagi, seperti engkau mula-mula kena tindih. Buaya terus mencuba tetapi tidak berupaya melepaskan diri.

Buaya cuba mengumpul kekuatan untuk mengangkat batang kayu itu, tetapi gagal. During his career, Xavier had picked up some tricks in animation production. One of his works was a rotating globe created using stop motion technique. In , Xavier was given the task to continue the animation project. He was asked to do the animation during his free time. Xavier was also given an assistant named Sharifuddin Abd.

He helped Xavier mostly in the process of inking on cels. Although without sound knowledge in animation, Xavier accepted the task without hesitation. He studied the animation carefully and redesigned the characters. He also redrew the storyboards on a 10 inch x 8 inch size and pasted along an entire wall. By referring to the storyboards, Xavier carefully planned the animation and painted every one of the backgrounds.

However due to a lot of work at the studio, Xavier was forced to abandon the animation project. Once again Xavier was called in to finish the animation. To expedite the process, Goh Meng Huat then arranged for three artists from the Information Department to be seconded to the Art Department.

They were asked to help Xavier in the painting of the cels. At the same time, four university students who were on semester leave were also recruited for the same purpose Goh Meng Huat, personal communication, The final work also includes a live action, showing two children siblings reading a storybook of HSK.

According to Hassan Abd Muthalib personal communication, July 24, , the live action scene was directed by Rahman B.

The animation is narrated in Malay language which voice was provided by a well-known radio news reader, Siti Hawa Zain. Some staffs also involved providing voice for the animated characters; Zainab Wahab, who worked in the negative room did the voice of the mousedeer, Mohd Daud Iman, a soundman, did the voice of the crocodile, Sharifuddin Kahar did the voice of the buffalo while Maharom Ghani from the laboratory did the voice of the Old Mat.

Although Xavier was responsible for the whole production process, he could not have done it without the help of an editor, A Suppiah. Unfortunately due to bureaucracy, HSK was denied for public viewing.

The comment was that the quality of the animation did not reach the standard. Certainly this was another disappointment for HSK. Ironically, he was impressed by the quality of HSK. Anandam Xavier did not continue making cartoon animation after he had completed HSK.

Anandam retired from FNM in Anandam Xavier died in , due to heart complication. Sitting in front are Gillie Potter and his wife Margie. This picture was taken in during the official visit of his majesty to FNM. Basically our objective is to interpret the cinematic form and visual themes that exist in Hikayat Sang Kancil cartoon animation.

The analysis will be based on the following Research Questions: RQ2. What are the visual characteristics of HSK? Using an annotated video analysis tool called Kinovea, we separated the video samples into multiple scenes. The total number of scenes of HSK is Next, we coded the key scenes based on specific visual themes and operational definition see table 2. We attached number value for each code.

In order to analyze the scenes, we used a research instrument called Animation Analysis Worksheet. We studied each scenes and assigned value according to its visual themes. The raw data was processed using spreadsheet program. We generated a graphical result in the form of pie chart for the purpose of discussion.

Table 2. Operational definition and Visual Themes Code Visual Themes Operational Definitions Number 1 Kinship The scene emphasizes siblings relationship, family value, 2 Superiority The scene emphasizes authority, power and strength, cruelty 3 Inferiority The scene emphasizes weakness, vulnerable, fearsome 4 Sincerity The scene emphasizes benevolence, trustworthy, concern,.

In a book Perception and Imaging written by Richard D. Zakia anthropomorphism is described as nonhuman subject having human like characteristic. For example, Disney has been promoting anthropomorphism in cartoon animation since the birth of Mickey Mouse.

Paul Wells in Understanding Animation notes how Disney production place great emphasis on anthropomorphism in cartoon animation. He wanted animated figures to move like real figures and be informed by a plausible motivation. The actual Mousedeer Tragulus Napu has small set of ears with an elongated face. Its neck is much shorter and its head is parallel to its body height.

In the cartoon version, Sang Kancil resembles to Bambi, an animated character of Disney animation. As a whole, Sang Kancil portrays adolescence due to its size which is petite and cute. On the other hand, Sang Sempuh is big and round. Its legs are slightly shorter which makes it look funny when it walks.

In the cartoon animation, its horns become the tool for lifting heavy log. Strangely enough Sang Sempuh did not use its horns to defense itself. Overall, Sang Sempuh portrays ignorant, sincere and innocent. Sang Bedal has a protruding jaw similar to the real crocodile.

Its eyes are big and positioned in front. Its body size is equal to Sang Sempuh. In the cartoon animation Sang Bedal swims and crawls on the ground. There is a sense of hierarchy in which the little animals in the cartoon animation squirrel, bird, monkey are meant to emphasize vulnerable and inferior. However Sang Kancil is an exceptional case. Despite being small, it has no fear to ferocious animals. Sang Bedal is the opportunist and has no sympathy to other animals.

Mousedeer Main character 2. Crocodile Main character 3. Buffalo Main character 4. Monkeys Supporting character 5. Old Mat Supporting character 6. Squirrels 7. Birds 8. Deer 9. Jaguar Frog This in a way brings out the sense of harmony, tranquility, romantic, cool and fresh. However it seems that the artist was struggling to create realistic movement especially on four legged creature. Camera movement HSK has a lot of camera movement which reinforces its presentation.

This effect is achieved by moving foreground image and middle ground sideways while the camera stays in focus.

The cloud of smoke appears suddenly after the animated character leaves the scene. This creates an expression of speed.