How the film censorship guidelines affect brand films

Last week, home minister Saifuddin Nasution Ismail launched the new film censorship guidelines under the Ministry of Home Affair's film censorship board. According to the minister, in a statement seen by A+M, the new guidelines is an improvement from the previous iteration and outlines three key pillars: security and public order, religion and morality, and socio-cultural factors. 

In addition, the new film censorship guidelines booklet states that film content must not incite racial issues, political tension, misunderstandings and confusion about religion. Furthermore, film content must not depict wild, unprincipled, deviant lifestyles that contradict cultural values and could harm the moral values of society. As such discussions on racial tension, questions about religious practice or LGBTQ characters may see bits chopped off, or not see the light of day at all.

Don't miss: MY govt's new film censorship guidelines too vague, says PTVM

With this new censorship guidelines, brand films may take for a turn too. As of late, many brands in Malaysia have opted for brand films for its campaigns. The recent Hari Raya and Chinese New Year campaigns this year saw plenty of brand films from brands such as Julie's, Maxis, RHB Bank, Ninja Van, Zalora Malaysia and more.

Across the board, brands, filmmakers and marketers that A+M spoke to are impartial towards the guidelines, adding that such changes are necessary. 

A necessary change 

Alex Goh, head of marketing at MR D.I.Y. Malaysia said that film censorships exist for certain reasons and should be implemented if appropriate and necessary. Regardless of the guidelines, the only problem Goh concerns himself with is remaining relevant to the audience. 

"MR.DIY is a challenger brand compared to the big players, hence we always want to push for more. The challenges and limitations are always about relevancy. Needing to make sure that the narrative and rhetoric of the films are understandable, and acceptable by the masses," said Goh. 

Tjer, head of creative at FCB Shout on the other hand, is not a fan of the censorship guidelines, but understands why it needs to be done. He said:

To me, censorship is a lot like shutting the toilet seat cover without flushing - your guests may not see it, but it doesn't mean the crap isn't still there.

"There are things in life that I may not agree with, but yet can understand why they needed to be done - and these new censorship guidelines are just one of those things," said Tjer. 

Although necessary, Tjer explained that the guidelines would be a challenge to continue telling stories that act as a mirror of the society and the times. 

"Some of the best brand films out there ask the toughest and most uncomfortable questions, and they force the audience to confront some harsh realities," added Tjer. He added that with these new guidelines, clients and agencies will need to find new narratives to connect with the audience - which might not be a bad thing in the long run.

Censorship can also foster creativity 

According to Tjer, the new guidelines will force brands to further push the envelope when it comes to creativity in storytelling. "Sometimes, it's best to leave it to your audience to connect the dots and interpret for themselves what you are trying to convey," said Tjer. 

"I actually think we will see even more interesting work from Malaysian brands, because with these new guidelines, gone are the days where brands can simply resort to blatant and mindless provocation just to bait a reaction or stir up controversy." 

Abdul Sani Abdul Murad, chief marketing officer at RHB Banking Group, agrees with Tjer, adding that the new film censorship guidelines are a significant step forward as it reflects the current needs of Malaysia and strikes a balance between safeguarding societal values and giving filmmakers the creative freedom they need. 

"This balance is crucial especially in a rapidly evolving media landscape where creativity thrives on the ability to push boundaries and explore new ideas," said Sani.  The challenge, however, lies in enforcing these guidelines. 

"Creativity, by its nature, is subjective. What one person may see as a bold artistic statement, another might view as controversial. This inherent subjectivity makes it difficult to have a one-size-fits-all approach to censorship," Sani added. 

As such, Sani is in strong support of the inclusion of industry practitioners in the Lembaga Penapisan Filem (LPF) panel. He explains that by involving those who are actively engaged in the filmmaking and marketing industries, nuanced and informed approach to censorship can be ensured.

"These professionals bring a wealth of experience and a deep understanding of the creative process, which can help in interpreting the guidelines more effectively and evolving them over time to stay relevant."

In addition, incorporating industry voices will also foster a more inclusive and transparent process. This is because it creates a dialogue between regulators and creators and ensures that the guidelines not only protect societal values but also support the artistic and commercial aspects of filmmaking.

"This collaborative approach can lead to a more dynamic and innovative film industry, where brand films and other creative content can flourish while adhering to the necessary standards," he added.

"While the new guidelines present certain challenges, they also offer exciting opportunities for the film and marketing industries to work together more closely, ensuring that creativity can continue to thrive within a well-defined and supportive framework." 

Brand films moving forward

Despite these changes, Sani doesn't foresee a drastic shift in the way brands navigate brand films. According to him, brand films are crafted to be positive forces, aligning with values and aspirations that resonate deeply with audiences and inherently steer clear of the negative content that the new guidelines aim to regulate. What brands need to be aware of is how to be acutely sensitive to the cultural and societal sentiments in the markets they operate in.

"The risk of being perceived as tone-deaf is significant, especially in today's socially conscious and digitally connected world. If a brand missteps, it can quickly become irrelevant or, worse, face backlash," said Sani. "This sensitivity is not just about adhering to guidelines but about genuinely understanding and respecting the audience's values and perspectives." 

Additionally, brand custodians will begin to play a critical role. Brand custodians, according to Sani, are generally well aware that brand films should do more than just market a product; they should tell a story that aligns with the brand’s purpose and the audience’s expectations. This alignment ensures that brand films remain powerful tools for engagement without crossing the boundaries set by the guidelines. 

Ultimately, while the guidelines introduce certain limitations, industry players agree that it also encourages a more thoughtful and deliberate approach to content creation. It can lead to richer, more meaningful brand storytelling.

"Brands that embrace these principles will not only comply with regulations but will also forge deeper connections with their audiences, fostering loyalty and trust," said Sani. 

Adding that, 

The guidelines may present some challenges, but they are also a call to elevate our creativity and commitment to positive messaging.

Filmmaker We Jun Cho agrees with Abdul Sani, adding that the censorship isn't "too much different to the previous guidelines." 

"Even with the new guidelines, a lot of the restrictions and considerations remain rather vague and perhaps intentionally by design," added Cho.

Cho explained that it would be unrealistic to expect sweeping changes or pressure for genuine reform, as these attitudes towards censorship is reflected by an increasing trend towards conservatism in the Malaysian society.

"I suppose keeping it vague gives authorities the leeway to manoeuvre around hot button topics and allows them to curb works that they deem to be too provocative, embarrassing and/or potentially destabilising," said Cho.

Speaking from experience in making brand content for clients, Cho said that clients have a tendency to play safe and not want to rock the boat too much.

"Most brand films are pretty tame, very rarely you get a brief that has a real bite, and even then, it inevitably gets sanded down during the postproduction back and forths," added Cho.

Cho is also of the opinions that the censorship guidelines may not directly impact branded works, as it is often exclusively digital.

"That said, I'm sure if there are branded content that is deemed to criticise royalty, or mocks religion, I'm sure that won't stop the authorities from taking action."

Looking ahead, clients who want a brand film can consider engaging in-house creatives for their campaigns, added Cho.

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