Digital visual effects (DVFx): comparative iconography analysis in Malaysian, Indian and Australian Award-Winning Movies
This aim of this article is to investigate the usage trends of DVFx technology in Malaysia, India and Australia’s film industries. DVFx is also called creative support tools or CST. The variety of CST forms used in the production of most films has changed the landscape of production and post-produ...
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| Format: | Article |
| Language: | English |
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Penerbit Universiti Kebangsaan Malaysia
2020
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| Online Access: | http://journalarticle.ukm.my/16039/ http://journalarticle.ukm.my/16039/1/40634-130503-1-PB.pdf |
| _version_ | 1848813948723265536 |
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| author | Hasrul Hashim, |
| author_facet | Hasrul Hashim, |
| author_sort | Hasrul Hashim, |
| building | UKM Institutional Repository |
| collection | Online Access |
| description | This aim of this article is to investigate the usage trends of DVFx technology in Malaysia, India and
Australia’s film industries. DVFx is also called creative support tools or CST. The variety of CST forms
used in the production of most films has changed the landscape of production and post-production in
Malaysia, India and Australia. Eleven films from those countries that have been awarded the best
visual effects in local film festivals were selected as a sample to compare the trends in DVFx usage in
those countries. Images and digitally generated scenes were analysed and have revealed a new level
of digital creativity in the film industry. The iconographic analysis is divided into three categories based
on the function of DVFx usage. These functions comprise the construction of ‘fantasy’, creative
simulation and storytelling support, and visual enhancement and corrections. This study also found
that the design structure is the most crucial element in a film. DVFx is used in the creation of fantasy
elements through the creation of characters, settings and props. DVFx has also been used to reinforce
the storyline by stimulating creativity through the creation of spectacular action scenes. DVFx have
also acted as a visual enhancement tool through the animated design of the opening titles and
transition scenes. |
| first_indexed | 2025-11-15T00:26:18Z |
| format | Article |
| id | oai:generic.eprints.org:16039 |
| institution | Universiti Kebangasaan Malaysia |
| institution_category | Local University |
| language | English |
| last_indexed | 2025-11-15T00:26:18Z |
| publishDate | 2020 |
| publisher | Penerbit Universiti Kebangsaan Malaysia |
| recordtype | eprints |
| repository_type | Digital Repository |
| spelling | oai:generic.eprints.org:160392021-01-20T06:02:42Z http://journalarticle.ukm.my/16039/ Digital visual effects (DVFx): comparative iconography analysis in Malaysian, Indian and Australian Award-Winning Movies Hasrul Hashim, This aim of this article is to investigate the usage trends of DVFx technology in Malaysia, India and Australia’s film industries. DVFx is also called creative support tools or CST. The variety of CST forms used in the production of most films has changed the landscape of production and post-production in Malaysia, India and Australia. Eleven films from those countries that have been awarded the best visual effects in local film festivals were selected as a sample to compare the trends in DVFx usage in those countries. Images and digitally generated scenes were analysed and have revealed a new level of digital creativity in the film industry. The iconographic analysis is divided into three categories based on the function of DVFx usage. These functions comprise the construction of ‘fantasy’, creative simulation and storytelling support, and visual enhancement and corrections. This study also found that the design structure is the most crucial element in a film. DVFx is used in the creation of fantasy elements through the creation of characters, settings and props. DVFx has also been used to reinforce the storyline by stimulating creativity through the creation of spectacular action scenes. DVFx have also acted as a visual enhancement tool through the animated design of the opening titles and transition scenes. Penerbit Universiti Kebangsaan Malaysia 2020 Article PeerReviewed application/pdf en http://journalarticle.ukm.my/16039/1/40634-130503-1-PB.pdf Hasrul Hashim, (2020) Digital visual effects (DVFx): comparative iconography analysis in Malaysian, Indian and Australian Award-Winning Movies. Jurnal Komunikasi ; Malaysian Journal of Communication, 36 (2). pp. 17-32. ISSN 0128-1496 https://ejournal.ukm.my/mjc/issue/view/1280 |
| spellingShingle | Hasrul Hashim, Digital visual effects (DVFx): comparative iconography analysis in Malaysian, Indian and Australian Award-Winning Movies |
| title | Digital visual effects (DVFx): comparative iconography analysis in Malaysian, Indian and Australian Award-Winning Movies |
| title_full | Digital visual effects (DVFx): comparative iconography analysis in Malaysian, Indian and Australian Award-Winning Movies |
| title_fullStr | Digital visual effects (DVFx): comparative iconography analysis in Malaysian, Indian and Australian Award-Winning Movies |
| title_full_unstemmed | Digital visual effects (DVFx): comparative iconography analysis in Malaysian, Indian and Australian Award-Winning Movies |
| title_short | Digital visual effects (DVFx): comparative iconography analysis in Malaysian, Indian and Australian Award-Winning Movies |
| title_sort | digital visual effects (dvfx): comparative iconography analysis in malaysian, indian and australian award-winning movies |
| url | http://journalarticle.ukm.my/16039/ http://journalarticle.ukm.my/16039/ http://journalarticle.ukm.my/16039/1/40634-130503-1-PB.pdf |