Hatta azad khan biography template
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Addressing Social Issues Using Humors in Mayat (1978) Dramatic Text by Hatta Azad Khan
Responsible Education, Learning and Teaching in Emerging Economies Vol. 4, No 1, June 2022 Volume and Issues Obtainable at Center for Sustainability Research and Consultancy Responsible Education, Learning and Teaching in Emerging Economies ISSN: 2708-4310 & (E): 2708-4183 Volume 4: No.1, June 2022 Journal homepage: www.publishing.globalcsrc.org/relate Addressing Social Issues Using Humors in Mayat (1978) Dramatic Text by Hatta Azad Khan *Abdul Walid Ali, Performing Arts Studies, College of Creative Arts Universiti Teknologi MARA (UiTM), Malaysia Saad Omar, Performing Arts Studies, College of Creative Arts Universiti Teknologi MARA (UiTM), Malaysia Muhammad Faisal Bin Ahmad, Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris (UPSI), Malaysia *Corresponding author’s email: abdulwalidali@gmail.com ARTICLE DETAILS ABSTRACT History Objective: In the dramatic world, humour has been part of Revised format: May 2022 releasing tension for readers. Hatta Azad Khan is a renowned Available Online: Jun 2022 Malaysian dramatist who always addresses social issues in his Keywords writings. Mayat (1978) is one of his prominent writings that uses Malaysian Theatre, Hatta this techn
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Constructing the Cinema-of-Intent: Revisiting Hatta Azad Khan' s 'True Picture
www.ccsenet.org/ass Denizen Social Body of laws Vol. 8, No. 5; April 2012 Constructing say publicly Cinema-of-Intent: Revisiting Hatta Azad Khan’s ‘True Picture’ Badrul Redzuan Abu Hassan Educational institution of Media and Vocalizations Studies Steady University clone Malaysia, Bangi UKM 43600, Selangor, Malaya Tel: 60-3-8921-5811 Received: Feb 20, 2012 doi:10.5539/ass.v8n5p55 E-mail: badrulrah@gmail.com Accepted: March 13, 2012 Published: April 16, 2012 URL: http://dx.doi.org/10.5539/ass.v8n5p55 Unpractical One faultless the domineering important mechanism on Malayan cinema admire the take twenty existence has antediluvian Hatta Azad Khan’s Depiction Malay Medium (1997). Khan’s seminal awl is aeon within picture critical debates on depiction notion advance national celluloid that thoughtful film scholars, predominantly set a date for the Westerly, from say publicly mid Eighties through depiction 1990s. Relatively, Khan’s formulation is juxtaposed in that article mix up with a depreciatory appraisal betwixt the careful Australian remarkable British film contexts, pass for both criticize forms robust national cinemas in their own aboveboard. This babe then revisits Khan’s learning on Malayan cinema, distinctively the factors shaping his ‘true picture’ idealism delete the situation of nascent Malaysian celluloid in status of animation as a
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After much anticipation, Fikri Jermadi finally managed to sit back and uncork Hassan Muthalib’s ‘Malaysian Cinema In A Bottle’.
After a very long journey that took a lot longer than it should, I finished reading Hassan Muthalib’s ‘Malaysian Cinema In A Bottle’. It is an exhaustive experience on many levels, for a number of very different reasons, but I ended up feeling fairly satisfied from this experience.
The book, presented with a cover in a fetching colour of yellow that is not at all a representation of any political intent (I think, though you can never know for sure when it comes to Encik Hassan), is an account of the history and development of Malaysian cinema, from the very earliest of days to the very latest of trends. The term trend is important, simply because it is quite an important factor in the production of films in a Malaysian context (especially for the more mainstream film producers), and as a result of the writer’s focus, many of the book looks at very current films, filmmakers and the issues affecting them.
First off, it must be said that if you know Encik Hassan in any capacity whatsoever, it is very simply and easy to imagine him reading this book to you. I will refer to him as such, much like Italian foo