Visualizing Islamic law and values in Semerah Padi (1956): P. Ramlee as cinematographic auteur
In film studies, the Auteur Theory is mainly employed to explore film directors’ signature styles in creating their mastery artifacts.Individual style of a director in filmmaking is based on his/her preferences; genre, theme, mise-en-scéne, cinematography or even casts line-up.Grounded by American a...
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Online Access: | http://repo.uum.edu.my/13052/1/pro48.pdf http://repo.uum.edu.my/13052/ http://dx.doi.org/10.1016/j.sbspro.2014.10.303 |
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my.uum.repo.130522016-05-23T06:25:07Z http://repo.uum.edu.my/13052/ Visualizing Islamic law and values in Semerah Padi (1956): P. Ramlee as cinematographic auteur Mohd Zaki, Nurul Ezzati Aisyaa Mustaffa, Che Su Irmawati, Noer Doddy BP Islam. Bahaism. Theosophy, etc PN1993 Motion Pictures In film studies, the Auteur Theory is mainly employed to explore film directors’ signature styles in creating their mastery artifacts.Individual style of a director in filmmaking is based on his/her preferences; genre, theme, mise-en-scéne, cinematography or even casts line-up.Grounded by American auteur scholar, Andrew Sarris's idea of ‘how’ in style and techniques a director conveys ‘what’ in film storytelling, this paper looks at P. Ramlee's cinematographic style in expressing Islamic notion in his 1956 film, Semerah Padi.Qualitative content analysis was conducted on the film in order to identify P. Ramlee's cinematographic tendencies and by taking up a semiotics approach; the researcher interpreted and discussed his distinctive style as an auteur statured filmmaker. Elsevier Ltd. 2014 Article PeerReviewed application/pdf en cc_by_nc_nd http://repo.uum.edu.my/13052/1/pro48.pdf Mohd Zaki, Nurul Ezzati Aisyaa and Mustaffa, Che Su and Irmawati, Noer Doddy (2014) Visualizing Islamic law and values in Semerah Padi (1956): P. Ramlee as cinematographic auteur. Procedia - Social and Behavioral Sciences, 155. pp. 341-347. ISSN 1877-0428 http://dx.doi.org/10.1016/j.sbspro.2014.10.303 doi:10.1016/j.sbspro.2014.10.303 |
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BP Islam. Bahaism. Theosophy, etc PN1993 Motion Pictures Mohd Zaki, Nurul Ezzati Aisyaa Mustaffa, Che Su Irmawati, Noer Doddy Visualizing Islamic law and values in Semerah Padi (1956): P. Ramlee as cinematographic auteur |
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In film studies, the Auteur Theory is mainly employed to explore film directors’ signature styles in creating their mastery artifacts.Individual style of a director in filmmaking is based on his/her preferences; genre, theme, mise-en-scéne, cinematography or even casts line-up.Grounded by American auteur scholar, Andrew Sarris's idea of ‘how’ in style and techniques a director conveys ‘what’ in film storytelling, this paper looks at P. Ramlee's cinematographic style in expressing Islamic notion in his 1956 film, Semerah Padi.Qualitative content analysis was conducted on the film in order to identify P. Ramlee's cinematographic tendencies and by taking up a semiotics approach; the researcher interpreted and discussed his distinctive style as an auteur statured filmmaker. |
format |
Article |
author |
Mohd Zaki, Nurul Ezzati Aisyaa Mustaffa, Che Su Irmawati, Noer Doddy |
author_facet |
Mohd Zaki, Nurul Ezzati Aisyaa Mustaffa, Che Su Irmawati, Noer Doddy |
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Mohd Zaki, Nurul Ezzati Aisyaa |
title |
Visualizing Islamic law and values in Semerah Padi (1956): P. Ramlee as cinematographic auteur |
title_short |
Visualizing Islamic law and values in Semerah Padi (1956): P. Ramlee as cinematographic auteur |
title_full |
Visualizing Islamic law and values in Semerah Padi (1956): P. Ramlee as cinematographic auteur |
title_fullStr |
Visualizing Islamic law and values in Semerah Padi (1956): P. Ramlee as cinematographic auteur |
title_full_unstemmed |
Visualizing Islamic law and values in Semerah Padi (1956): P. Ramlee as cinematographic auteur |
title_sort |
visualizing islamic law and values in semerah padi (1956): p. ramlee as cinematographic auteur |
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Elsevier Ltd. |
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2014 |
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http://repo.uum.edu.my/13052/1/pro48.pdf http://repo.uum.edu.my/13052/ http://dx.doi.org/10.1016/j.sbspro.2014.10.303 |
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