HISTORIOGRAFI FILEM MELAYU DALAM KONTEKS TRANSFORMASI SOSIAL DAN SOSIOBUDAYA MASYARAKAT MALAYSIA

Abstract

Filem harus merakam dan mentafsir transformasi sosial dan sosiobudaya masyarakat. Elemen naratif seperti tema, mesej, watak dan perwatakan, latar tempat dan masa, konflik dan plot akan menggambarkan isu dan permasalahan yang berlaku dalam masyarakat. Ia menjadikan filem sebagai alat komunikasi bagi menyampaikan mesej tertentu. Sebagai cerminan sosial, mesej yang disampaikan dalam filem boleh digunakan untuk tujuan pendidikan dan panduan bagi menjadikan masyarakat yang lebih baik. Berdasarkan analisis secara historiografi terhadap filem-filem Melayu, didapati naratif filem Melayu juga memaparkan transformasi sosial dan sosiobudaya masyarakat Malaysia.  Pengaruh hiburan dan idealogi Barat contohnya menyebabkan tema-tema filem Melayu ketika tahun 50-an dan 60-an banyak menyentuh isu sosial yang melibatkan hubungan kekeluargaan dan perbezaan kelas. Filem-filem seperti Ago go 67 (1967) dan Kaca Permata (1966) memaparkan kebimbangan penulis dan pengarahnya terhadap sikap golongan anak muda yang suka berhibur. Filem Penarek Becha (1956), Antara Dua Darjat (1960) dan Ibu Mertua-ku (1962) pula menyentuh perbezaan kelas antara golongan miskin dan kaya. Peristiwa 13 Mei 1969 menyebabkan Kerajaan Malaysia telah memperkenalkan Dasar Ekonomi Baru (DEB) bagi merapatkan jurang ekonomi antara kaum. Langkah ini menyebabkan berlakunya transformasi sosial dalam masyarakat Melayu yang mewujudkan perubahan cara pemikiran terhadap isu yang berlaku di sekeliling mereka. Isu berkaitan pendidikan, ekonomi dan kepimpinan disuarakan melalui filem Abang (1981) dan Matinya Seorang Patriot (1984).  Pemikiran mengenai sikap negatif orang Melayu dan kepentingan agama juga telah dikritik melalui filem Kembara Seniman Jalanan (1986). Secara keseluruhannnya, walaupun terdapat filem yang menyentuh kesan transformasi sosial terhadap sosiobudaya masyarakat, tetapi bilangannya masih rendah. Kebanyakan filem Melayu yang dihasilkan masih berteraskan hiburan. Hal ini disebabkan pembikin filem dan produser masih menganggap bahawa filem adalah sebuah perniagaan berteraskan keuntungan.   Film should capture and interprete social transformations and sociocultural aspects of a society. Narrative elements such as theme, character, setting, conflict and plot a part in portraying societal issues and challenges. These elements then become prime tools in delivering specific messages to the audience. Film thus becomes a social reflection - whereby messages portrayed in the film can be used to educate and guide audiences to become better representations of themselves in society as a whole. Based on historiography of Malay films, the narrative also showcased social transformation and sociocultural changes of Malaysian society. Factors of these transformations were influenced by the adoption of Western ideologies and entertainment lifestyle. To which, the themes surrounding Malay films in the 50’s and 60’s were social issues such as family relations and social class differences. Films such as Ago Go 67 (1967) and Kaca Permata (Precious Gem Stones, 1966) highlighted the writers’ and directors’ concern for the youths who actively engage in a party lifestyle. Penarek Becha (Trishaw Puller, 1956), Antara Dua Darjat (Between Two Classes, 1960) and Ibu Mertua-ku (My Mother-in-law, 1962) were films that touch upon the social stratification of the rich and poor. After the 13 May 1969 incident, the then ruling Malaysian government introduced the New Economic Policy (NEP) to minimise the economic gap between ethnic groups that caused social transformations in the Malay community. From then on, issues such as education, economics and leadership were raised in films such as Abang (Brother, 1981) and Matinya Seorang Patriot (A Patriot Is Dead, 1984). Even the negative perception of the Malays and importance of religion were critiqued in Kembara Seniman Jalanan (An Artist’s Journey, 1986). Despite films that address the impacts of social transformation towards a society’s socio-culture, it remains to be limited in number. Majority of Malay films are still produced for entertainment purposes resulting in filmmakers and producers to lean towards the notion that filmmaking is a thriving business industry whose sole focus is profit.