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Skip to main content. You're using an out-of-date version of Internet Explorer. Log In Sign Up. Pain and pleasures of the look: The female gaze in Malaysian horror film.

Alicia Izharuddin. AC 26 2 pp. English language. The female gaze in Malaysian horror film AbsTrAcT Keywords Female ghosts and other supernatural entities, including the pontianak, in Malaysian cinema Malaysian horror cinema are excessive psychosocial articulations of traditional horror Malay femininity gone awry.

In Malay ghost stories, the pontianak is a venge- monstrous feminine ful pontianak male girl sex. She is the ghostly reincarnation of a pregnant woman who dies before Malay femininity or during the birth of her child and who then seeks vengeance on the living for gender causing the gruesome death that kills her and gkrl unborn child. The pontianak thus embodies the horror of abject femininity pontianak male girl sex with thwarted womanhood.

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pontianak male girl sex Another recurring theme in Malaysian horror cinema relates to women possessed by evil spirits. Typically portrayed as lacking in emotional restraint, and therefore given to hysterical behaviour, such pontianak male girl sex are thought to be particularly vulner- able.

Malaysian horror cinema has been adept poontianak depicting psychosocial horrors of feminine excesses as such that transgress otherwise restrictive social and custom- ary expectations for Malay femininity. This article examines the horror of abject femininity in two contemporary Malaysian films by female film-makers: Both films collectively provide a spine-chilling commentary on female—female relations and motherhood that puts to play the female gaze and the monstrous feminine.

The pontianak is a female undead. She is a monstrous feminine apparition out for blood and revenge. This vampire-like figure preys on the living whom she blames for causing her untimely death that also 80 year old milfs her unborn child.

She is the ghostly reincarnation of a pregnant woman who is murdered by her lover before or during the birth of her child, and as such is a vengeful spirit. In the horror paradigm are also women possessed pomtianak an evil spirit. Under gorl spell of an evil spirit, the living woman can unleash social disorder of devastating proportions. How to make sense of the enduring fascination with the pontianak my grocery store friend Bellevue Nebraska the woman pontianak male girl sex in twenty- first-century Malaysia?

What can feminist film theory about the female gaze in particular tell us about the cinematic portrayal of such female figures in contemporary Malaysian horror cinema? The horror film remains one of the most popular gilr lucrative genres in the Malaysian pontianak male girl sex industry Aquilia The two chosen films share three significant similari- ties.

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pontianam First, they are both made by women. Finally, and equally interestingly pontianak male girl sex, the female supernatural figures are both object and bearer of the gaze which stands in stark contrast to the predominance of pontianak male girl sex male gaze in contemporary Asian cinema.

This article is written in the dying light of Lacanian film theory when psychoanalytic models of pleasure and subjectivity no longer reign supreme in film studies see Bordwell and Carroll A more eclectic path beyond psychoanalysis is therefore taken.

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This includes engaging with the works of Arbuthnot and SenecaByars and Stacey who have brought to light cinematic experiences apropos to female relations, sex massage Tucson, and desires that have fallen through the cracks of Lacanian psychoanalysis. In contrast to just a little suck, boys identify themselves as different from their mother and by implication, develop their gender identity in opposition to femininity van Zoonen This looking-away undermines spectatorial identifica- tion: As a result the viewing process is thrown into crisis.

In turning away from the sight of the terrifying abject, the viewing subject accordingly reconstructs the Self, and redraws the boundaries between itself and the sight. All four types of looks evidently exist in Pontianak Harum Sundal Malam and Chermin, which as I would show are women-oriented Pontianak male girl sex horror films. Created by women film-makers, these films manufacture a femi- nine perspective of horror and the abject, while interrogating the gendered themes of tradition and modernity.

Her article primarily relies on the Freudian Lacanian psychoanalytic model of sexual difference. Voyeuristic looking, Mulvey argues, is facilitated by the darkened cinema auditorium where the peeping tom which resides in every spectator is acti- vated.

While voyeuristic looking allows control over the image, fetishistic pleasures enable the pontianak male girl sex beautiful older ladies wants sex Albany New York to disavow the threat of castration by denying the sexual difference that women signify. The resultant objectification renders her as a fetishized image Mulvey pontianak male girl sex Visual pleasure of narrative cinema, Mulvey argues, addi- tionally demands the psychical activation of narcissism.

Whereas voyeurism requires distance from pontianak male girl sex object of the gaze, the sequestering of the beholder of the look dominican thick being seen, narcissism involves identification with the male protagonist so as to suture the spectator into the narrative and then through the eyes of the male protagonist, to desire and possess the female object of the gaze.

The narcissistic drives pontianak male girl sex the male spectator motivate him to iden- tify with the male protagonist in the screen, making the concerns of the male protagonist that of male spectator as. Lacan argues that this process of identification will continue as the child grows up and that is how the ego is constituted Stacey Picking up from where Mulvey has left off, other feminist theorists embark on the quest to found the female gaze as an antidote to the male gaze, thereby opening up pontianak male girl sex gateway to under- standing and reclaiming female pleasures in film viewing.

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For Mary Ann Doane, the female gaze does not have the capacity pontianak male girl sex participate in voyeuristic and fetishistic pleasures free tamil phone sex way the heterosexual male gaze is set up to.

This is mainly because the gap between the female meet singles boston viewing subject and the female object of the view cannot be psychically located: Jackie Stacey, on the other hand, argues that the female gaze should extend beyond erotic fetishization of women on-screen since this often colludes with the dominant patriarchal order She thus puts the emphasis pontianak male girl sex different and multiple levels of identification that mobilize pontianak male girl sex nation and aspiration for de-eroticized articulations Stacey Although there is little consensus on a singular definition of the female gaze, it can pontianak male girl sex best understood in the following two ways: Indeed as feminist 1.

The pontianak is thought to be a film critic Barbara Creed points out most cogently: For me, beyond the gaze the two, but rather debates, of the male or female variety, one needs to consider the actual feel- because she cannot ings, desires and anxieties perceived by the female pontianak male girl sex as. The horror film has a long history in Malaysian cinema. These films typically feature hantu, the Malay word for spirits and ghosts, such as pontianak and polong enslaved spirit Aquilia The hantu belongs to the Malay oral tradition of animist myths.

Its telling, however, runs counter to the Islamic faith which is the national religion of Malaysia Kasimin The hantu film went into a steep decline in the late s when censorship policies banning violence, horror, sex and counter-culture in all media were put to place.

In the s horror films re-emerged but they were primarily made for the video retail market Khoo Up to today, of all hantu, the pontianak, a ghostly vampire-like banshee1 Aquilia She is closely sexx to other female pontianak male girl sex, such as the sundelbolong, langsuir or langsuyar, all of which are of Malay Indonesian and Singaporean origin. Her spectre appears at night in quiet graveyards. Sometimes she would sit on a tree branch, carrying a baby 916 escorts her pontianak male girl sex.

The pontianak is a beautiful young woman who can transform at will into fucking my sisters stories hag with claw-like fingernails.

She wears a long dress or tunic and has long hair which sometimes grows to her ankles. She may take other forms: The pontianak figure analogizes the pontianak male girl sex against women whose body is the anxious focus of politico-religious and cultural control in Malaysia. Furthermore as Creed observes with particular respect to western horror films, whether caricaturized in the form of the virgin, mother-like figure or whore, female monstrosity typically displays overt sexualization; this is less common in the case of male monsters Unlike pontianak male girl sex pontianak, they are living people.

Cinematic narratives about women possessed reveal unset- tling vestiges of pontianak male girl sex culture in modern-day Malaysia, which are typically linked to the allegedly hysterical woman. In Malay folklore, spirit possession was once thought to be most common among older, married and divorced women or widows Kessler According to Malay folk beliefs, the supernatural serves as a means of explaining the inexplicable and the uncanny.

This has spawned tales about spirits from the netherworld which have come to haunt the human world; some would possess the human body as if a vessel, with pontianak male girl sex victims typically experiencing sudden seizures, trance-like states, and pontianak male girl sex spells pontianak male girl sex ited by young women Phoon Islamic prayers and rituals are in turn used to exorcise such supernatural transgressions, thereby showing the extent of the Islamicization of Malay folk beliefs and practices.

Women who wander into haunted places and who are weak in spiritual disposition are thought to be most vulnerable to possession by the evil spirit Ong When this happens in Malaysian horror cinema, the scene of spirit possession sets the stage for acts of gender transgression: Whether lady seeking hot sex Cookstown reel- or real-life, possession narratives ultimately depict the triumph of religion over evil spirits, ggirl also over modern scientific rationality.

An Islamic teacher imamor traditional healer bomohwould be called upon to perform the exorcism through his authoritative recitation of the Quran to dispel the invading evil pontianaj.

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Narratives of spirit possession and religious exorcism are fairly abundant in Malay horror films which have seen a revival in more recent years.

It should be noted here that films about the pontianak may contain sub-plots of spirit possession since the pontianak, a ghost no less, too is able to enter the human body, especially a female, and possess it as if its.

In such esx, the possessed would display superhu- man ability who can leap from a great height and stay unscathed in situations of violent altercation. Pontianak Harum Sundal malam: The horror film production revival has since yielded a diverse array of financially successful horror films.

Here beautiful Meriam played by Maya Karin pontianak male girl sex a successful court dancer until Marsani, a spurned admirer, and his henchmen pontianak male girl sex murder. At the time of her death, Meriam is pregnant. Her murderers then plunder her home, taking with them a kelong a type of Javanese gamelan gong and other valuable dance accessories belonging to Meriam.

In her bid for revenge, Meriam returns as a pontianak to terrorize her murderers. The story then moves to the present-day. Maria also played by Maya Karin works for this company. She not only ponyianak identical to but is also a traditional dancer like the late Meriam.

While dancing one day, she inadvertently revives the spirit of Meriam, who then possesses. Maria, thus possessed, becomes the tool for Meriam to exert her revenge on Marsani. Restricted and punished during her lifetime, sensual massage boston are empowered to pontianak male girl sex only in her afterlife in the varied forms of otherworldly beings such as the pontianak, the penanggalan a headless ghostand the nenek kebayan a pontianak male girl sex witch-like crone who pontianaj the jungle.

Abstractions of modern Malay femininity in Malaysian cinema, according to Khoo can be found in narratives that link women closely with tradition and somehow being locked in the past; women as traditional dancers, keepers of cultural heritage, and as reproduc- ers of Malay culture pontianak male girl sex place is in filipina massage los angeles home.

Meriam may well be a monstrous feminine spectre but she is not a villain. Rather than being depicted as the ghoulish female villain in film Creed