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This profile was last updated on 3/27/14  and contains information from public web pages.

Hassan Abd Muthalib

Wrong Hassan Abd Muthalib?

President

Animation Society of Malaysia
 
Background

Employment History

  • Creative Writer
    National Theatre
  • President
    Animation Society
  • Freelance Film and Animation Director and Writer and Trainer
    Filem Negara
  • Head of Design
    Filem Negara
  • Titling Artist
    Filem Negara
  • Graphics Designer
    Filem Negara Malaysia
  • Criticine
27 Total References
Web References
Criticine :: elevating discourse on southeast asian cinema
criticine.com, 27 Mar 2014 [cached]
Hassan Muthalib Criticine :: elevating discourse on southeast asian cinema
...
Hassan Muthalib
HASSAN ABD MUTHALIB (b. 1945) is a self-taught artist, designer, animator, film director & writer. He started his career as a Graphics Designer & went on to write & direct public service filmlets, animation shorts, & Malaysia's first animation feature film. He has won awards for his first live-action filmlet for an Anti-Drug Campaign, Best Visual Effects for a feature film, & a Best Documentary Jury Award for his first documentary. Hassan has also co-written the Malaysian Cinema segment for the book, Being and Becoming: The Cinemas of Asia. He has presented papers on film & animation in local Universities, & overseas. He is a creative writer for the National Theatre & presents critical papers for local and foreign publications, and most frequently for the Internet. He sits on various advisory panels for the education and film industry and is also a frequent jury member for film festivals (including having done a stint at the 1998 Pyongyang International Film Festival). He conducts workshops locally & overseas, & also teaches at some of the top design, animation & film colleges in Malaysia. He is the President of the Animation Society of Malaysia, and is currently compiling material for writing books on Malaysian animation & cinema.
Hassan Abd ...
www.ayacc.org, 23 Jan 2012 [cached]
Hassan Abd Muthalib
...
Hassan Abd Muthalib
HASSAN ABD MUTHALIB (born 1945) is a self-taught artist, designer, animator, film director & writer. He has taught at some of the top animation & film colleges in Malaysia & has also conducted workshops overseas. He is currently the President of the Animation Society of
Hassan Muthalib is the man who ...
www.asianewsnet.net, 29 June 2010 [cached]
Hassan Muthalib is the man who was there when it all happened. The man sometimes also known as the "father of Malaysian animation" (although he would humbly dispute that distinction himself, because he says there were others before him), is a self-taught artist.
Hassan started out creating artwork and decorations for the Robinson's department store in the '60s before joining Filem Negara as titling artist. Very soon he was producing festive season trailers with a team of people, even without any knowledge about animation.
Hassan remembers that for one of the Christmas sequences, he had to animate walking camels. "Not knowing anything about animation registration, I found that the camels started to walk up towards the sky! he says with a laugh. "I also had to get on all fours to imitate a walking animal and get the animation done."
Hassan and the other animators continued to learn diligently from whatever source they could find, including Australian animator Frank Smith who came to animate a commercial for Sissons Paint in 1972 and was offered Filem Negara's facilities for that purpose.
...
This self-training continued and Hassan and others such as Adman Salleh, Sharifuddin Kahar, Ahmad Kamarul and Arif Don made a bunch of animated public service trailers about drug abuse, vandalism and saving electricity, among other subjects.
...
"My animated public service trailer, Nyamuk Aedes, was banned from being screened on TV in the late '70s," says Hassan. "It showed the aedes mosquitoes having a meeting and planning on how to kill humans. It was very popular (in the cinemas) and many professionals told me that it was an effective way to get serious messages across."
Unfortunately for Hassan, an MP spoke up in Parliament asking why the leader of the mosquitoes was talking like an opposition member. But Nyamuk Aedes continued screening in the cinemas.
"Even at the storyboard stage, I was asked to make a lot of changes in presentation," says Hassan. "Instead of the crowd of mosquitoes yelling 'Yay!' every time their leader made a point, I had to change it to 'Ya, ya, ya!'."
In the '80s, when Adib Adam took over as information minister, he was shown Malaysia's first animated fiction film, Hikayat Sang Kancil, done by Anandam Xavier who started work on it in the 60s and completed it in 1978.
However, the film was banned from being screened. Hassan explains it was because in that year, there was the disgraced politician Harun Idris' corruption case.
...
"So Adib asked for a Sang Kancil animated series," Hassan relates.
...
Still, while doing adminstrative duties, Hassan wrote the script, drew the storyboard, designed one of the three characters and prepared the layouts. After six months, Sang Kancil & Monyet was completed.
"Finally it was shown on Hari Raya 1984 and was an immediate hit," says Hassan.
...
This, Hassan says, resulted in the private sector producing the first ever local animated series, Usop Sontorian, which began airing in 1995. And in 1998, Hassan himself made the first local animated feature film, Silat Lagenda, which used a combination of hand-drawn and computer-generated animation and visual effects which took three years and more than 3 million ringgit to make.
...
Hassan recognises that Malaysia is currently in the fourth phase of animation. He says the first phase was doing animation the traditional and laborious way.
The second phase in the '80s and early '90s saw the use of computers in line testing as well as 2D animation software that allowed the scanning of manually-rendered drawings. This saw great savings in time, labour and cost.
"In this phase, we mastered the hardware and software, and many creative young talents became world-class," Hassan elaborates. "But not necessarily in the storytelling aspects. There was too much emphasis on storymaking - techniques - rather than storytelling."
Ideas, concepts, characterisations and narrative suffered as such. And as most lecturers were not trained in animation but came from the architecture and graphics disciplines, they tended to emphasise the mastering of the software.
"They didn't know that a fundamental understanding of film grammar and film language was essential for visual storytelling," says Hassan. "They thought storyboarding was about drawing and not about how the camera tells the story visually through placing of the camera, shot size, camera angles, lighting, camera movements and production design. The storyboardist also needs to have an understanding of acting, cinematography and sound."
From the way Hassan speaks about animation, one would never know that he never had any formal training. But years of experience and learning on the job have their advantages.
As for the fourth phase, Hassan poses this question: "So where do we go from here?"
"It must be back to basics," he says.
...
"The Disney philosophy laid down 80 years ago is still relevant today," says Hassan.
New Straits Times - Malaysia News Online
www.nst.com.my, 15 June 2004 [cached]
Hassan Muthalib is a man with all the answers and he intends to document them in two books he is writing.
The first is titled the History of Filem Negara Malaysia and the second, History of Malaysian Animation.Hassan was Filem Negara's head of design from 1981-1995.Now, a freelance film and animation director/ writer/trainer, he recently presented a paper on the history and development of animation in Malaysia at the National Art Gallery, as part of an exhibition called Necessary Distractions: From Ukiyo-E To Anime.
Interestingly, according to Hassan, both documentary filmmaking and animation were introduced in Malaya when the Malayan Film Unit (now Filem Negara), a government documentary film unit, was set up by the British in 1946.
...
According to Hassan, after the war, Potter was sent to Malaya to teach locals titling work and animation.
...
"Potter and Goh worked on the Cathay Organisation and Cathay Keris titles for Singapore that we see every time a Cathay-Keris film is shown on TV," Hassan said.
...
Goh and Potter matted in a picture of an airfield with the shot of the window, achieving Malaysia's first special effects shot, Hassan revealed.
When Potter left for England in 1957, Goh took over as chief artist and head of animation of the animation studio.
The efforts of early pioneers like Potter and Goh in filmmaking, according to Hassan, were invaluable to the early film industry.
Instead, Hassan Abd Muthalib is ...
film.culture360.org [cached]
Instead, Hassan Abd Muthalib is undisputedly one of the last remaining "walking encyclopaedias" of Malaysian cinema. He may be in his early 60's but when one engages Hassan in a conversation about his lifelong passion (filem as they call it), the man becomes a child.
"People ask me when Malaysian cinema began," he says, mischievous eyes sparkling behind horn-rimmed spectacles, "I tell them centuries ago!"
Hassan excitedly claims it all began even before the technology was born in the late 1800s. Prior to the churning of first cameras, Malaysians of yore had the pleasure of viewing legendary epics play out as flickering shadows against a white screen - the timeless wayang kulit.
He continues, "And even then, folks would peer behind the screen to see how the magic works!"
Hassan is a treasure trove of facts and figures about the art and industry he's embraced since 1964. And for any Asian cinema researcher (like myself), he makes an excellent Square One. A self-made man, he began his film career as a graphics designer for the Filem Negara Malaysia, a government documentary studio. From there he graduated into scripting and directing public service plugs and broke into making animated shorts and docus. His Sang Kancil series established him as one of the forerunners of Malaysian animation. And his first documentary The Cane bagged the Jury Award for at the 1989 Jakarta Asia-Pacific Film Festival. Today, Hassan continues to write screenplays as well as inspire a whole new breed of young Malaysian auteurs. But the man is hard to pin down. Just the past two months, Hassan has been circumnavigating the globe - presenting papers in Japan and London, sitting in film panels in India, lecturing in Norway, conducting workshops in Singapore and his beloved all around Malaysia. Despite this hectic schedule, Hassan is generosity personified giving precious time to anyone who cares to listen.
When asked about the present state of Malaysian film he excitedly comments: "Today, we have three types of filmmakers... First, the ones who work in the mainstream for whom fame and box-office results are most important.
...
As I prepare to leave this land of vegetarian delights, opulent bookstores and RapidKL's from paradise, I make one wish for Hassan, Yasmin, Bernard, Brando, the Da Huang directors, Tuck Cheong, Benjamin and the rest of the good guys: "just keep on keepin' on…"
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