The Aesthetic of Wira in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

Muhammad Jailani bin Abu Talib

muhammad271@e.ntu.edu.sg
MA (Research)
School of Arts, Design, & Media
Nanyang Technological University
Abstract

The politics of cultural and national identities have long been marked by
the presence of 'wira' and glorified individuals to stimulate a sense of pride
and faith in a particular community. While diplomacy and governmental
policies help negotiate the borders through which a community stands on,
narratives and mythology often shape the psychology and ideology of a
nation. For such a reason perhaps, the identification of Hang Tuah as a
symbol of 'Malayness' has long been a subject of fantasy for various
scholars in the field of Southeast Asian studies (Kassim, 1966; Khoo G. C.,
2006; Maier, 2004; Shaharuddin, 2014; Siti, 1993). In spurring the
discourse forward, this essay would study the aesthetic of dialogue within
Puteri Gunung Ledang (2004) and observe how a feudal hero such as
Hang Tuah can figure as a national hero in postcolonial Malaysia (Khoo,
2006: p. 18) through the effective use of dialogues. More specifically, the
analysis of Hang Tuah's dialogue within Puteri Gunung Ledang (2004)
through the use of Gestalt theory would provide readers with a meaningful
insight as to how the film "shifts the understanding of Hang Tuah in the
perception of the Malay audience" (Putten & Barnard, 2007, p. 247). In
explaining the essay, the study posits that the promotion of a national
identity as well as the need to instil a sense of loyalty amongst Malay
audiences stood as the main drive behind the development of Hang Tuah as
a lead protagonist in the film.

Introduction
The aesthetic analysis within the dialogue(s) of Hang Tuah in Puteri Gunung Ledang would delve
itself into the investigation of rhyme patterns and stanza structure of the film. The research is in
line with previous approaches undertaken by Reuven Tsur & Goodblatt (1991), Reuven Tsur &
Gafni (2012) & Tsur (2012) and will focus on the patterns within a speech by which rhymes are

The Aesthetic of 'wira' in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

perceptually organised. It follows the rule that when "stimuli possess similar features they form
groups and are perceived as unified, coherent and stable structures." (Smith, 1968, p. 41)
Building on the concept of Malay aesthetics, the investigation needs to bring readers
through some of the governing principles that can observed from the dialogues. In particular, we
apply the principles of 'figure and ground, law of similarity, law of continuity, and law of closure'
before delve into an analysis of length and time of dialogues, applying Gestalt's principle of 'law
of proximity'. The application of Gestalt theory would facilitate the understanding of linguistic
strategies employed in impressioning Hang Tuah as a hero for a contemporary Malay audience.
For this research, there are three important foci that needs to be defined, namely Puteri
Gunung Ledang (2004), Malay aesthetics and Gestalt theory. The three concepts would be
defined as such :

Puteri Gunung Ledang (2004)

Puteri Gunung Ledang (2004) marked a turn in Malaysian film history by being "Malaysia's first
foray into the international chase for Best Foreign Picture (Wegg, 2004)." The film won five
awards in Festival Film Malaysia in 2005 for Best Director, Best Screenplay and Original Score.
Producer-Actress, Tiara Jacquelina was subsequently also awarded with a Best Actress Award at
the 50th Asia Pacific Film Festival.
Interestingly, while the primary narrative was reminiscent of earlier films such as Puteri
Gunong Ledang (1961), Hang Tuah (1959), and Hang Jebat (1961), which were all set in ancient
Malacca, Puteri Gunung Ledang (2004) was not faithful to the original narrative of the Hang Tuah
story. Expressing his disappointment, Hassan Muthalib pointed out to the flaws in the film:

its transfer to the screen was problematic. The visual design too did not really
portray the grandeur of old Malacca..Also conspicuously missing were the
flourishes and mannerisms of the ancient Malay world. (Hassan, 2013, p.
224)

In this case however, despite Puteri Gunung Ledang (2004) playing a central role in
paving the future of Malay filmmaking. More important however was its timely and well-

The Aesthetic of 'wira' in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

calculated launch. It was launched at a time where Malaysian cinema was overflowing with
"lowbrow flicks catering to non-urban audiences. (Lim, 2012, p. 10) Standing out from "a crowd
of standard slapstick comedy, romance, horror and street-biker films, all on account of its
ambitions and heavy state-backed promotions (Lim, 2012, pp. 10-11)", Puteri Gunung Ledang
stood out as a film that was easily digestible by the mass audience. Borrowing from readily
popular characters from the past, Puteri Gunung Ledang (2004) immediately places itself among
the ranks of popular similar natured-films made in the 1950s and 1960s, widening its appeal to a
modern Malay audience.
The credibility and believability of the film therefore lies in the rhetorical skills of the
director and his ability to employ suitable processes to shape her/his reality. Gerald A. Powell Jr.
(2004, p. 1) argues "Rhetoric addresses the issues of idealism and realism by using critical
methods and strategies. Rhetoric seeks to locate essentialist arguments, which are understood as
truth-centered ideas." Through the mastery of the linguistic message as well as the non-coded and
coded iconic messages, the director has at his will the ability to articulate the film as a
"stupefying evidence of this is how it was, giving us, by a precious miracle, a reality from which
we are sheltered (Barthes, 1977, p. 44)." Reality therefore is deliberately crafted by the film's
stakeholders, namely the producer, director and investors of the film. The power of film in
cinema lies in its ability to create symbols for the viewers to identify or use to decode its
messages. Film therefore broadens our perceptual and psychological horizon by making people,
places and events seem real.
In relation to Puteri Gunung Ledang (2004), the use of a 15th century hero, Hang Tuah
lends himself as the image of an ideal Malay, where loyalty to the state and ruler is more central
and important as opposed to personal goals. The image of Hang Tuah calls to mind the nostalgic
allegiance Malays have towards ancient Malacca, a utopia on earth where men acted with
chivalry and justice. Khoo Kay Kim (1992, p. xvii) explains:

Generally speaking, most people realise that Malacca has a special place in
Malaysian history. The period of the sultanate is regarded as a glorious page
in the nation's history, but the general perception of the Malacca sultanate is
restricted to colourful episodes about leading figures such as Sultan
Alauddin, Tun Perak and Hang Tuah.

The symbolisation of Malayness through the use of Hang Tuah in film was in essence a

The Aesthetic of 'wira' in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

measure towards sealing the image of loyalty as an ideal. Puteri Gunung Ledang (2004) was
produced at a time where politics in Malaysia was increasingly tumultuous with the once
favoured successor to then Prime Minister being dismissed from the positions of Deputy Prime
Minister and Finance Minister in 1998. Following his arrest, Anwar Ibrahim was arrested under
the Internal Security Act which allows for detention without trial. Citing moral reasonings, Anwar
Ibrahim was charged with several offences of corruption and sodomy. All the allegations have
repeatedly been refuted by Anwar who continues to maintain his innocence till today. (Trowell,
2015)
Intriguingly, the tension between the two political figures gave rise to discussions on the
conflict between Hang Tuah and his antagonist, Hang Jebat. Parallelisms were drawn by
juxtaposing the two characters against the political tension between Anwar Ibrahim and Mahathir
as the backdrop. Khoo Gaik Cheng observes :
Mahathir's Asian dictatorial leadership, along with his adoption of the
discourse of "Asian values," associated him with the loyal courtier Hang
Tuah, whereas Anwar, with his criticisms of Mahathir's patronage system,
emerged as the wronged modern day Jebat. Allegations of Anwar's being a
national traitor (an agent selling secrets to the United States!) would further
support this image of him as the Jebat who commits durhaka (treason).
(Khoo, 2004, p. 24)
Dr. Mahathir was likened to Hang Tuah while Anwar Ibrahim was seen as Hang Jebat. In
this case, while Hang Jebat personified the spirit of democracy, Hang Tuah symbolised the spirit
of nationalism within the Malay community. Interestingly however, in Puteri Gunung Ledang
(2004), Hang Jebat was 'removed' from its original narrative. This marked a revolution in how
discussions concerning Hang Tuah should be held. Hang Jebat's removal from narratives
concerning the history of Malacca was unprecedented and marked a new chapter on how
discussions on Hang Tuah should proceed. Since its inception in 2004, the legacy of the film has
been reproduced in many forms, beginning with a series of musical produced in 2006 and 2009
respectively, a book in 2007 and finally a concert in 2015.
Aesthetics : A Malay Perspective

The Aesthetic of 'wira' in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

Aesthetics do not take a central place in discussions about art in Malay. An attempt to
cast an understanding towards the term however can be examined through Muhammad Haji
Salleh (1979, p. 1) who posits that "pantun forms the essential core of aesthetics (in Malay). In it
can one examine cultural and intellectual values of the Malay people". Through the typical use of
short phrases consisting of 8-12 syllables ending with A-B-A-B rhyme schemes, pantuns regularly
surface in Malay literature, events and activities. The significance of the pantun to the Malays can
perhaps be best understood through the words of (1961, p. iii) who assert "one cannot understand
the psyche and thoughtflow of the Malays should one not understand the pantun." Ostensibly,
pantuns, being poetic expressions of the Malays are intrinsically linked to their psyche and
welstanchauung and cannot be separated from discussions on the concept of Malay aesthetics.
In elaborating the notion however, Syed Ahmad Jamal (2010) defines Malay aesthetics as
one of paradox and balance. Citing an example from Hikayat Hang Tuah, he illustrates the need
for the Malay author to seek balance within various elements and characters by presenting Hang
Tuah and his friends with traits not usually associated with masculinity or warriors. Hang Tuah
and friends were presented as warriors, who despite their masculine demeanour, were well versed
in art and literature, humble and hold a general dislike towards attention.
Differentiating Malay aesthetics from the western tradition of aestheticism, he explains
that while western aesthetics is defined through form and space, Malay aesthetics do not hold on
to the same principles. He explains, "this concept does not exist in the tradition of Malay arts. In
western art, space is appreciated through the physical and psychic sensation" (Syed, 2010, p. 3).
In turn, Malay art "bridges the gap between the reality of the physical world and the spiritual and
acts as the medium between the artist and the audience's soul" (Syed, 2010, p. xv).
Working with Muhammad Haji Salleh and Syed Ahmad Jamal's thesis, Malay aesthetics
can be defined as a set of principles which highlight Malay cultural values with a strong emphasis
on evoking a spiritual response from the audience. The perception of art as a speech between the
artist and the audience as opposed to being a work on its own however may be visible footprints
left by the long Indian influence on the Malay culture. Picking from the concept of 'rasa' from
Natyashastra (1950), an important Indian treatise that lays out the principles of aesthetics in
Indian performing arts, the artwork becomes a vessel of emotions intentionally conveyed by the
artist to the audience.

The Aesthetic of 'wira' in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

Gestalt Theory
Gestalt theory is built on the premise that every single entity or Gestalt is built upon the
foundations of an organised structure and characteristic elements. Propounding the notion, Kohler
(1929, p. 192) argues Gestalt as "the meaning of a concrete individual and characteristic entity,
existing as something detached and having a shape or form as one of its attributes". In the
analysis of dialogue, the development of a meaningful discourse is in essence a product of an
organised and systematic strategy by which the end product or Gestalt is a symphony of
orchestrated mechanisms which can be realised and understood as Gestalt laws. Through the
understanding of the organising principles behind the dialogue of Puteri Gunung Ledang (2004),
Gestalt theory allows for the idea of a systematic enquiry towards the aesthetics of the film's
dialogue.
The significance of Gestalt as a method of appreciating aestheticsim has been applied
throughout various branches of art including visual arts by Rudolf Arnheim (1957), music by
Leonard B. Meyer (1956), and Barbara Herrnstein-Smith (1968) to poetry. Its' potency as a
theoretical framework to approach this study however would be best appreciated through Reuven
Tsur's admission that "many of the aesthetically most interesting issues regarding poetic rhythm,
rhyme patterns and stanza form can be understood only through having recourse to Gestalt
theory" (2012, p. 159). Through Gestalt theory, the aesthetics of dialogue within Puteri Gunung
Ledang (2004) would be illuminated and

facilitate the understanding of strategy used in

developing Hang Tuah into "the ideal man, warrior, and citizen..a tutelary genius of the Malay
people." (Jong, 1965, p. 140)

Rhyme Patterns & Stanza Structure

The dialogue of Hang Tuah spans across 52 scenes throughout the length of the whole
movie. Despite this however, Hang Tuah's speech can only be observed in six main scenes.
Interestingly, while Hang Tuah is the primary protagonist in the film, he can only observed to be
speaking thirty four times throughout the course of the film. In scene two, lasting between
00.04.23-00.07.33, Hang Tuah was introduced to the audience amidst a ruckus created by a pirate
who demanded that the daughter of a market seller follows him back to meet his leader.

The Aesthetic of 'wira' in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

Throughout the scene however, Hang Tuah only spoke thrice, with each speech lasting about 5-8
seconds.
Signalling his presence, Hang Tuah stopped the pirate in his tracks by articulating,"Tiada
siapa perlu melakukan apa yang bukan kemahuan hatinya." The above speech presents a pattern
within the speech of which words ending with an /a/ and /an/ was repeated across several words.
At first glance however, while the speech does not follow a discernible pattern in accordance to
the metrical set often observed in pantun, it follows the rhyme scheme set out in traditional
pantuns whereby rhyming syllables can be found in between each stanza. This can be observed in
the following pantun :
Tanam selasih di tengah padang
sudah bertangkai dirubung semut;
Kita kasih orang tak sayang
halai-balai tempurung hanyut

The syllable /sih/ as observed in the middle of stanza 1 is intentionally repeated in stanza
3. The same pattern is also applied on the syllable /ai/ in the second and fourth stanza of the
above pantun. The rhyme scheme however quickly reverts to the usual, more discernible format
typically found in usual pantuns. Maintaining his role in Malacca, Hang Tuah asserts, "selagi
ianya di bumi Melaka, ia menjadi tugas hamba. Lepaskan dia. Cinta dan restu tak boleh dipaksa."
Repeating the syallable /a/ throughout the ends of each part of his speech, his lines are
strategically rhymed in order to manipulate the audiences' perception of the dialogue. Elaborating
the effective of rhymes as rhetorical cues, J. Paul Hunter explains :
Rhyme words almost inevitably call attention to themselves, partly because
the regular chiming of sound seems to give them special status beyond that of
alliteration or assonance and partly because their set position in a line - most
often at the ends of lines and thus 'sealing' the ends of lines - gives them a
'place' status that draws both aural and visual attention. (Hunter, 2006, p. 177)
The use of rhyme as a rhetorical cue in the dialogue of Hang Tuah can be consistently
observed across all his speech. In contrast, other characters surrounding Hang Tuah displayed a
tendency to slip in and out of rhymical schemes and steer away from the metrics and rhyme
standards of pantun. Juxtaposed against the non-uniformity in prosody employed by other

The Aesthetic of 'wira' in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

characters, Hang Tuah's steady reliance on the use of rhymes as often utilised in pantuns
facilitated the perception of Hang Tuah being of significance when compared to the other
characters. Hang Tuah was clearly configured to stand out from the other characters surrounding
him. Interestingly however, Hang Tuah's dialogue style begin to witness a shift when
telepathically speaking to Puteri Gunung Ledang. Such perhaps can best be observed in Hang
Tuah's lengthiest telepathic dialogue throughout the whole film, taking place in scene 52, lasting
between 01.43.38-01.44.44 :
Tunjukkanlah dirimu dinda! Tunjukkanlah dirimu. Kanda rela
bermuntahan darah dari hidup sepi tanpamu. Demi segala pengorbanan
yang dinda lalui, demi segala penderitaan yang dinda alami, dan demi
segala kemungkinan yang patut Kanda lakukan, Kanda mohon maaf.
Kanda buta dinda..Kanda buta. Kanda rayu dinda..Kanda rayu..
(Show yourself, my love! Show yourself. I'd suffer the curse and die than
live without you. For all that you have sacrificed, for all that you have
suffered and for all the things I should have done, please forgive me, my
love. I was blind, love! I beg you, my love. I beg you.)
Set in a scene towards the end of the film, the dialogue registers Hang Tuah's
desperation in being together with Puteri Gunung Ledang and can be observed as an attempt at
humanising Hang Tuah and fortify his character as a modern day hero, who despite his celebrated
status and reputation, recognised his fallible self and was suscpetible towards humanly emotions
such as love. Interestingly, the prosocial shift in Hang Tuah's dialogue projects an image of
mortality and reality emanating through the veil of wiraism in the Malaccan warrior. In line with
the laws of similarity in Gestalt theory, the dialogue of Hang Tuah was intentionally configured to
advance the impression of him sharing similar characteristics to the common man. Strategically
arranged towards the end of the film, the dialogue seeks to build on the image of Hang Tuah by
reminding viewers of his 'mortal' background. Despite earlier scenes where Hang Tuah was
ascribed with the ability to fly in mid air and bring his opponents across various realms and
dimension, the above dialogue diminishes such god-like qualities and made him easily
identifiable with the masses.

With the exception of the above dialogue, Hang Tuah's consistent use in rhymes, rode
on the traditional pattern and structure of pantun, ultimately aimed at elevating his status in the
subconscious memory of the society. Running parallel to the idea however was a need to
encourage the impression of Hang Tuah being discernable to a wider audience. The dialogue of

The Aesthetic of 'wira' in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

Hang Tuah was therefore in essence a tool used in focusing Hang Tuah as a hero. In the words of
Jan Van Der Putten & Timothy Barnard (2007:247), "instead of focusing on nationalistic
sentiments, the film portrays the complex hero as a romantic, martial arts aficianado with few
political undertones."
Length & Time of Dialogues
The interface of which wira can be examined in Puteri Gunung Ledang extends itself
beyond the careful selection of words and structure. Equally important in the inquiry is the length
and time of which the speech and dialogue is made. Expanding Syed Ahmad Jamal's (2010) thesis
of balance within Malay aesthetics, Hang Tuah's dialogue can be examined on two main fronts of
which they counteract with each other and develop two different personalities running parallel to
one another. It was important therefore that Hang Tuah is presented to be fallible character as
opposed to be almighty and powerful. According to Syed Ahmad (2010:6), "Malay aesthetics
displays a deeper appreciation towards that which is less than perfect for total perfection would
be less intriguing."
The length and time of the dialogues play an important role in highlighting Hang Tuah's
contrastive personality. Most significant in this inquiry is the switch between using short bursts of
emotions to lengthier expressions. Despite Hang Tuah's speech only being observed thirty four
times throught the course of the film, his screen presence is augmented by careful use of eloquent
silences(ES) in order to drive his message forward. Particularly apparent through his dialogues
with Puteri Gunung Ledang where Hang Tuah's emotions and unspoken desire to be with Puteri
Gunung Ledang is fully expressed through the use of ES. As opposed to the use of silences as
syntactic markers, the lack of speech in parts of Hang Tuah's dialogue served emotive functions.
Illustrating the skilful use of silence in delivering key messages and emotions, Michal Ephratt
(2007: 1916) explains, "within the emotive function, where the speaker (not the outside world or
the Other) is at the center, this speaker through his or her words or silences expresses his or her
emotions, internal experiences."
The use of eloquent silence in between Hang Tuah's verbal dialogue serves an emotive
function in capturing the internal experience of the warrior. Capturing the emotional chaos that
begins to stir through Hang Tuah's inner psyche, the script below, as previously used in the earlier
portion of this essay, details the length of silence in between each parts of the dialogue :
Hang Tuah

Tunjukkanlah dirimu dinda!

The Aesthetic of 'wira' in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

01.43.38-01.43.41
Show yourself, my love!
Total Length : 3s.
ES to next speech: 3s.
Hang Tuah
01.43.44-01.43.45

Tunjukkanlah dirimu
Show yourself.

Total Length : 1s.

ES to next speech: 3s.
Hang Tuah
01.43.48-01.43.51

Kanda rela bermuntahan darah dari hidup sepi tanpamu.

I'd suffer the curse and die than live without you.

Total Length : 3s.

ES to next speech : 19s.
Hang Tuah
01.44.10-01.44.34
Total Length : 24s.
ES to next speech : 6s.

Hang Tuah
01.44.40-01.44.44

Demi segala pengorbanan yang dinda lalui, demi segala

penderitaan yang dinda alami, dan demi segala kemungkinan
yang patut Kanda lakukan, Kanda mohon maaf. Kanda buta
dinda.Kanda buta.
For all that you have sacrificed, for all that you have suffered and
for all the things I should have done, please forgive me, my love.
I was blind, love!
Kanda rayu dinda..Kanda rayu.
I beg you, my love. I beg you.

Total Length : 4s.

ES to next speech : 30s.
Hang Tuah
01.45.14-01.45.16
Total Length : 2s.
ES to next speech : 4s.
Hang Tuah
01.45.20-01.45.32
Total Length : 12s.
ES to next speech : 2s.
Hang Tuah
01.45.34-01.45.35
Total Length : 1s.
ES to next speech : 6s.
Hang Tuah
01.46.01-01.45.06

Maafkan Kanda dinda.

Jika Dinda izinkan kanda berpijak di tanah ini dan menghirup

nafas bersama degupan jantung dinda, berilah petunjuk.

Berilah kanda petunjuk.

Sesungguhnya, kanda cintakan dinda.

Total Length : 5s.

ES to next speech : The above dialogue is scripted in a manner whereby Hang Tuah's sense of loss and regret

The Aesthetic of 'wira' in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

10

towards potentially being eternally separated from the princess is expressed in lengthy utterances,
breaking away from his earlier prosodical style of using pantuns. Where the utterances gets
shorter however, the length of eloquent silence is stretched in order to provide for dramatic effect.
Unlike the use of pauses as syntactic markers, typically created through physiological needs such
as breathing, the above dialogue aids in the impressioning of Hang Tuah as a romantic warrior.
This is in direct contrast to earlier scenes such as below whereby the length of pauses in between
lines are significantly shorter :
Hang Tuah
00.05.22-00.05.27

Tiada siapa perlu melakukan apa yang bukan kemahuan hatinya.

No one should have to do anything against their will.

Total Length : 5s.

ES to next speech : 1s.
Pirate
00.05.28-00.05.30

Siapa cakap 'tu? Siapa cakap 'tu?

Who said that? Who said that?

Total Length : 2s.

ES to next speech : 9s.
Pirate
00.05.39-00.05.48

Tugas hamba, bawa gadis ini kepada ketua hamba. Datuk tak
payahlah masuk campur!

Total Length : 9s.

ES to next speech : 1s.

It is my duty to take this girl to my leader, Sir. This is not your

concern.

Hang Tuah
00.05.49-00.05.57

Selagi ianya di bumi Melaka, ia menjadi tugas hamba. Lepaskah

dia. Cinta dan restu tak boleh dipaksa.

Total Length : 8s.

ES to next speech : 1s.
Pirate
00.05.58-00.06.01

All that happens in Melaka is my concern. Let her go. Love cannot
be forced.
Ini perintah ketua hamba. Bagaimana kalau ini tugas Datuk
Laksamana?

Total Length : 3s.

ES to next speech : 5s.
Hang Tuah
00.06.06-00.06.13

Those are my orders! What if they were yours, Lord Admiral?

Kalau 'nak menurut, biar berakal. Kalau mengikut, biar pintar
To follow, be sensible. To obey, be wise.

Total Length : 7s.

ES to next speech : -

As opposed to the absence of speech in between lines as a form of eloquent silence, the
pauses in between lines in the above dialogue serves a procedural function to mark the various
elements of the discourse. The focus therefore was on the aesthetics of the spoken as opposed to
the aesthetics of the unspoken, as was the case for the earlier example in which the inner psyche

The Aesthetic of 'wira' in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

11

and emotions of Hang Tuah take a more promiment role in the scene. Where Gestalt is concerned,
the above phenomenon draws its attention to the law of proximity whereby assortment of objects
that are placed in a relative proximity to each other are perceived as a group. In the case of the
film however, the consistent style and use of pauses and eloquent silences within a specified
scene or dialogue reflects the film producer's need for Hang Tuah to be perceived in a specific
manner. Through the careful configuration of dialogue and its delivery, Hang Tuah is
impressioned as an individual who was firm and in control of the situation surrounding him, and
his innermost emotions and desire.
Conclusion
The aesthetic of dialogue within the speech of Hang Tuah in Puteri Gunung Ledang (2004) is
especially important in developing a film that permeates itself into the social memory of a
contemporary Malay audience. Following the meter, rhyme and structure of traditional Malay
literature, the dialogue of Hang Tuah was engineered towards advancing his status as a Malay
hero for the 21st century. Positioning Hang Tuah as a chivalrous and romantic individual, his
inner psyche and emotions are articulated through a strategic use of eloquent silences.
Propounding the notion of wira in Hang Tuah, the aesthetics of dialogue helps ensure that the
intended message gets delivered in an effective manner, sparing little room left for alternative
interpretation towards the character. Through Puteri Gunung Ledang (2004), particularly in the
aesthetic of dialogue, Hang Tuah was cast into the spotlight, framing him as an icon to be
respected, revered, and emulated.

Bibliography

Ahmad, S. (2015, July 01). Kassim Ahmad, the unwitting Jebat. Retrieved September 12, 2015,
from Free Malaysia Today :
http://www.freemalaysiatoday.com/category/highlight/2015/07/01/kassim-ahmad-theunwitting-jebat/
Aristotle. Rhetorics. New York: Cosimo Classics.
Arnheim, R. (1957). Film as Art. Berkeley: University of Callifornia Press.
Arnheim, R. (1966). Form and The Consumer. In R. Arnheim (Ed.), Towards a Psychology of Art
(pp. 7-16). Berkeley & Los Angeles: University of California Press.
Barthes, R. (1977). Image Music Text. London: Fontana Press.

The Aesthetic of 'wira' in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

12

Bazin, A. (1967). The Evolution of the Language of Cinema. Los Angeles and London: University
of California Press.
Berlin, J. (1988). Rhetoric and Ideology in the Writing Class. College English , 50 (5), 477-494.
Bitzer, L. R. (1968). The Rhetorical Situation. Philosophy and Rhetorics , 1, 1-14.
Bluestone, G. (1957). Novels into Film. Berkeley: University of California Press.
Bordwell, D. (1989). Making Meaning : Inference and Rhetoric in the Intepretation of Cinema.
Cambridge, Massachusetts, England: Harvard University Press.
Braginsky, V. I. (1990). Hikayat Hang Tuah: Malay Epic and Muslim Mirror: Some Consideration
on its Date, Meaning and Structure. Bijdragen tot de Taal-, Land en Volkenkunde , 146 (4),
399-412.
Buchanan, R. (1989). Declaration by Design : Rhetoric, Argument and Demonstration in Design
Practive. In V. Margolin (Ed.), Design Discourse : Hisory, Theory, Criticism (pp. 91-110).
Chicago: University of Chicago Press.
Campbell, J. (1949). The Hero with A Thousand Faces. New York: Pantheon Books.
Chauduri, Arjun, & Buck, R. (1995). Media Differences in Rational and Emotional Responses to
Advertising. Journal of Broadcasting and Electronic Media , 39, 109-125.
Eisenstein, S. (1949). Film Form. (J. Leyda, Ed.) New York & London: Harvest / HBJ Book.
Elkin, J. (1999). The Domain of Images. Ithaca: Cornell UP.
Ephratt, M. (2008). The functions of silence. Journal of Pragmatics (40), 1909-1938.
Faridul, A. F. (2015, February 18). Presenting Puteri Gunung Ledang in Concert. Retrieved
September 20, 2015, from New Straits Times: http://dev.nst.com.my/news/presenting-puterigunung-ledang-concert
Hamilton, A. W. (1959). Malay Pantuns. Singapore: Eastern Universities Press Ltd.
Hart, C. (2009). Heroines and Heroes: Symbolism, Embodiment, Narratives & Identity. Poynton,
Cheshire: Midrash.
Hassan, A. M. (2013). Malaysian Cinema in a Bottle. Petaling Jaya, Selangor: Merpati Jingga.
Heide, W. V. (2002). Malaysian Cinema, Asian Film: Border Crossings and National Cultures.
Amsterdam: Amsterdam University Press.
Hill, C. A., & Helmers, M. (2008). Preface. In C. A. Hill, & M. Helmers (Eds.), Defining Visual
Rhetorics (pp. ix-xi). Mahwah, New Jersey: Lawrence Erlbaum Associates, Publishers.
Hin, S. T. (Director). (2004). Puteri Gunung Ledang [Motion Picture]. Malaysia.

The Aesthetic of 'wira' in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

13

Hooykaas, C. (1947). Over Maleische literatuur. Leiden: Brill.

Hunter, J. P. (2006). Seven Reasons for Rhyme. In L. Clymer, Ritual, Routine, and Regime (pp.
172-198). Toronto: University of Toronto Press.
Hutcheon, L. (2012). A Theory of Adaptation. London, United Kingdom: Taylor & Francis Ltd.
Jong, J. d. (1965). The Rise and Decline of a National Hero. Journal of the Malaysian Branch of
the Royal Asiatic Society , 38 (II), 140-155.
Kassim, A. (1966). Characterisation in Hikayat Hang Tuah: a general survey of methods of
character-portrayal and analysis and interpretation of the characters of Hang Tuah and Hang
Jebat . Kuala Lumpur, Malaysia: Dewan Bahasa dan Pustaka.
Khoo, G. C. (2006). Reclaiming Adat : Contemporary Malaysian Film and Literature. Singapore:
Singapore University Press.
Kim, K. K. (1992). Foreword. In M. Y. Hashim, The Malay Sultanate of Malacca (pp. xvii-xix).
Kuala Lumpur: Dewan Bahasa dan Pustaka.
Koffka, K. (2013). Principles of Gestalt Psychology. London: Taylor & Francis Ltd.
Kohler, W. (1929). Gestalt Psychology. New York: Liveright.
Kuleshov, L. (1974). Kuleshov on Film : Writings of Les Kuleshov. (R. Levaco, Trans.) Berkeley:
University of California Press.
Lim, D. C. (2012). Introduction : Southeast Asian film as a site of cultural interpretation and
social intervention. In D. C. Lim, & H. Yamamoto, Film in Contemporary Southeast Asia :
Cultural Interpretation and Social Intervention (pp. 1-22). New York: Routledge.
Lim, D. C. (2012). Malay(sian) patriotic films as racial crisis and intervention. In D. C. Lim, &
H. Yamamoto, Films in Contemporary Southeast Asia : Cultural Interpretation and Social
Intervention (pp. 93-111). New York: Routledge.
Maier, H. M. (2004). An epik that never was an epic - The Malay Hikayat Hang Tuah. In J.
Jensen, & M. M. Henk, Epic Adventures: Heroic Narrative in the Oral Performance
Traditions of Four Continents (pp. 112-127). Mnster, Germany: Lit Verlag.
Marciniak, M. (2007). The Appeal of Literature-to-film Adaptations. Lingua ac communitas , 17,
59-67.
Metz, C. (1968). Film Language : A Semiotics of The Cinema. (M. Taylor, Trans.) Chicago: The
University of Chicago Press.
Mitchell, W. J. (1981). Diagrammatology. Critical Inquiry , 7 (3), 622-633.
Moberg, G. ". (1990). The Revival of Rhetoric : A Bibliographic Essay. Journal of Basic Writing ,
9 (2), 66-82.

The Aesthetic of 'wira' in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

14

Mohd Adib, H. M. (1983). Kata-Kata Aluan (Foreword). In B. Latif, Krisis Filem Melayu (pp. iv). Kuala Lumpur: Insular Publishing House.
Muhammad, H. S. (1991). Yang Empunya Cerita (The Mind of The Malay Author). Kuala
Lumpur: Dewan Bahasa dan Pustaka.
Muhammad, Y. H. (1992). The Malay Sultanate of Malacca. Kuala Lumpur: Dewan Bahasa dan
Pustaka.
Porter, J. E. (2009). Recovering Delivery for Digital Rhetoric. Computers & Composition , 26,
207-224.
Putten, J. V., & Barnard, T. P. (2007). Old Malay Heroes Never Die. In I. Gordon, M. Jancovich,
M. P. Mcallister, I. Gordon, M. Jancovich, & M. P. Mcallister (Eds.), Film and Comic Books
(pp. 246-267). Jackson: University Press of Mississippi.
Salleh, M. H. (1979). Estetika Pantun Melayu (Aesthetics of the pantun). Seminar Akar-Akar
Kesenian Peribumi dan Perkembangan Kini. Shah Alam: Malaysian Institute of Technology.
Shaharuddin, M. (2014). Concept of a Hero in Malay Society. Petaling Jaya, Selangor: Strategic
Information and Research Development Centre.
Shariman, M. (2011, March 19). Malay epic film scores in English . Retrieved September 20,
2015, from New Straits Times:
http://news.asiaone.com/News/Latest+News/Showbiz/Story/A1Story20110319-268922.html
Siti, A. M. (1993). Konsep Wira dalam Sastera Melayu (Concept of Hero in Malay Literature).
Kuala Lumpur: Dewan Bahasa dan Pustaka.
Stafford, B. M. (1997). Good Looking : Essays on The Virtue of Images. Cambridge, MA: MIT
Press.
Stein, A. (2004). The Byronic Hero in Film, Fiction and Television. Carbondale, Illnois: Southern
Illnois University Press.
Tan, K. M. (2007). Puteri Gunung Ledang: The Spirit and the Journey. Kuala Lumpur: MPH
Group Publishing Sdn Bhd.
Tiara, J. (2004, January 24). The making of "Puteri Gunung Ledang". (S. J. Wegg, Interviewer)
Tsur, R. (2012). Metaphor and Figure-Ground Relationship : Comparisons from Poetry, Music,
and the Visual Arts. In Playing by Ear and the Tip of the Tongue: Precategorial information in
poetry (pp. 159-192). Amsterdam: John Benjamins.
Tsur, R., & Gafni, C. (2012). Poetry ReadingRhythmical Performance: Triple-encoding, and
voice quality: Six case studies. Thinking Verse II , 88-111.
Tsur, R., & Goodblatt, J. G. (1991). Gestalt qualities in poetry and the reader's absorption style.
Journal of Pragmatics , 487-500.

The Aesthetic of 'wira' in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

15

Umar, Y. (1984). Sejarah Melayu : Menemukan Diri Kembali. Kuala Lumpur: Fajar Bakti.
Wan Hasmah, W. T. (2013). Daripada Kertas kepada Layar: Transformasi Kisah Hang Tuah
daripada Hikayat Hang Tuah dan Sulalat al-Salatin kepada "Puteri Gunung Ledang". In M. A.
Halimad, & A. R. Mohamad Luthfi (Eds.). Penang: Penerbit Universiti Sains Malaysia.
Wegg, S. J. (2004, January 25). The making of "Puteri Gunung Ledang". Retrieved October 5,
2015, from James Wegg Review: www.jamesweggreview.org/Articles.aspx?ID=717
Winstedt, R. (Ed.). (1938). The Malay Annals or The Sejarah Melayu. Journal of Malaysian
Branch of the Royal Asiatic Society , 16 (3), 1-226.

The Aesthetic of 'wira' in Puteri Gunung Ledang (2004) : A Gestalt Analysis of Dialogue

16