Gender Representation of 20 years Malaysian Films based on Andy Kirk Dynamic Visualization Framework

  • Nasiroh Omar Universiti Teknologi Mara
  • Nur Naelah ‘Ariefah Nordin UiTM Shah Alam

Abstract

The role of visualization in journalism evolved when dynamic visualization was introduced. Previously, data visualization in media were constrained with the static nature of the media itself. Nowadays, front-end technology advancement allows for dynamic visualization included in journalism or as a standalone itself. Dynamic visualization ables to provide a compelling story and also effective in summarizing large amounts of data into useful insights. Using Andy Kirk’s framework of creating effective visualization, this paper aims to provide insightful and dynamic visualization on the evolution of Malaysian films in terms of its gender representation, box office success, budget, and genre. About 809 movies produced from the year 2000 until 2020 were sampled and processed prior to being visualized. The visualization shows that while male centric movies have higher box office earnings, female centric movies perform better in relation to their budget, implying that female centric movies can potentially earn better in box office sales if given a higher budget. The paper demonstrates the design, exploration, and implementation processes for an effective dynamic visualization.

Author Biography

Nur Naelah ‘Ariefah Nordin, UiTM Shah Alam

Faculty of Computer and MAthematical Sciences

References

[1] P. Godfrey, J. Gryz, and P. Lasek, “Interactive visualization of large data sets,” IEEE Trans. Knowl. Data Eng., vol. 28, no. 8, pp. 2142–2157, 2016.
[2] J. Liutvinavičien\.e and O. Kurasova, “Multi-level Massive Data Visualization: Methodology and Use Cases,” Balt. J. Mod. Comput., vol. 6, no. 4, pp. 321–334, 2018.
[3] H. T. Hisham, “The impact of globalization on the Malaysia film industry,” Int. J. Innov. Technol. Explor. Eng., 2019.
[4] D. Polson, J. Kerr, R. Quagliata, and C. Wong, “Decoding the Marvel Cinematic Universe. An interactive data visualisation tool for exploring categories and connections between films, characters, artefacts and attributes,” Decod. Marvel Cinematic Universe. An Interact. data Vis. tool Explor. Categ. Connect. between Film. characters, artefacts Attrib., 2017.
[5] J. Steinke and P. M. P. Tavarez, “Cultural representations of gender and STEM: portrayals of female STEM characters in popular films 2002-2014,” Int. J. Gender, Sci. Technol., vol. 9, no. 3, pp. 244–277, 2018.
[6] M. Sap, M. C. Prasettio, A. Holtzman, H. Rashkin, and Y. Choi, “Connotation frames of power and agency in modern films,” in Proceedings of the 2017 conference on empirical methods in natural language processing, 2017, pp. 2329–2334.
[7] J. Walsh, “Elite women warriors and dog soldiers: Gender adaptations in modern war films,” in Gender and warfare in the twentieth century, Manchester University Press, 2018.
[8] S. Loist and E. Prommer, “Gendered production culture in the German film industry,” Media Ind., vol. 6, no. 1, pp. 95–115, 2019.
[9] F. K. H. Basri, “Representations of Gender in Malaysian Malay Cinema: Implications for Human Security,” Asian Cine., vol. 19, no. 2, pp. 135–149, Dec. 2012, doi: 10.1386/ac.19.2.135_1.
[10] Hanita Mohd Mokhtar-Ritchie, “Negotiating melodrama and the Malay woman: Female representation and the melodramatic mode in Malaysian-Malay films from the early 1990s-2009,” 2011.
[11] F. Ibrahim, N. Yunus, M. Ilias, A. H. A. Mokhtar, and others, “Portrayal of women’s images in television dramas: A Malaysian case,” in SHS Web of Conferences, 2017, vol. 33, p. 63.
[12] L. A. B. S. Ghazali and R. Islam, “Critical determinants of box office success for the Malaysian film industry,” Int. J. Bus. Syst. Res., vol. 15, no. 4, pp. 491–509, 2021.
[13] L. Yang, Z. Xu, and J. Luo, “Measuring Women Representation and Impact in Films over Time,” arXiv, vol. 1, no. 4. arXiv, pp. 1–14, Jan. 2020, doi: 10.1145/3411213.
[14] A. M. Lindner, M. Lindquist, and J. Arnold, “Million Dollar Maybe? The Effect of Female Presence in Movies on Box Office Returns,” Sociol. Inq., vol. 85, no. 3, pp. 407–428, Aug. 2015, doi: 10.1111/soin.12081.
[15] D. Seyser and M. Zeiller, “Scrollytelling-an analysis of visual storytelling in online journalism,” Inf. Vis. - Biomed. Vis. Vis. Built Rural Environ. Geom. Model. Imaging, IV 2018, pp. 401–406, Dec. 2018, doi: 10.1109/IV.2018.00075.
[16] A. Kirk, Data visualisation: A handbook for data driven design. Sage, 2016.
[17] M. François, F. Osiurak, A. Fort, P. Crave, and J. Navarro, “Usability and acceptance of truck dashboards designed by drivers: Two participatory design approaches compared to a user-centered design,” Int. J. Ind. Ergon., 2021, doi: 10.1016/j.ergon.2020.103073.
[18] S. Zwinger, J. Langer, and M. Zeiller, “Acceptance and Usability of Interactive Infographics in Online Newspapers,” 2017 21st Int. Conf. Inf. Vis., pp. 176–181, Jul. 2017, doi: 10.1109/IV.2017.65.
[19] J. Jawaheer, A. N. Nur Afiqah, O. Nasiroh, A. Sharifah, and M. Suraya, “Reminiscing the legendary P. Ramlee through data visualization technique/Jawaheer Jaffar...[et al.],” Math. Sci. Informatics J., vol. 1, no. 2, pp. 59–69, 2020.
[20] C. Smatt, R. Pratt, T. Abegaz, and A. Dobbs, “Towards Effective Customer Data Visualization: Data-Driven Documents (D3.JS) VS Google Charts.,” QRBD, p. 207, 2020.
Published
2021-11-01
How to Cite
OMAR, Nasiroh; NORDIN, Nur Naelah ‘Ariefah. Gender Representation of 20 years Malaysian Films based on Andy Kirk Dynamic Visualization Framework. Mathematical Sciences and Informatics Journal, [S.l.], p. 15-25, nov. 2021. ISSN 2735-0703. Available at: <https://myjms.mohe.gov.my/index.php/mij/article/view/13909>. Date accessed: 07 dec. 2022. doi: https://doi.org/10.24191/mij.v2i2.13909.
Section
Articles

Most read articles by the same author(s)

Obs.: This plugin requires at least one statistics/report plugin to be enabled. If your statistics plugins provide more than one metric then please also select a main metric on the admin's site settings page and/or on the journal manager's settings pages.