The Malaysian film industry has entered the digital industry when all production and national broadcasting companies shifted to digital equipment and facilities. This raises the issue on how to preserve local films from here on out regardless of the video recording method. While there are some government institutions tasked with digitising and preserving films (negatives) in Malaysia, little is known about the procedure, protocol, and priority of this development. Through in-depth interviews with key personnel from National Film Development Corporation Malaysia (FINAS) and Arkib Negara, the study investigates the fate of Malaysian films especially the ones produced using film format. Finding indicates that while there are intensive work conducted by both repository institutions to digitise archived films, priorities are given to film documentaries and government-related news coverage thus setting aside the jewels of Malaysian historical and classical feature films towards uncertain future.

The concept of Post-colonialism has been broadly used, not only in South Asian society but around the globe to study the relationship between the colonizer and the colonized ones. Like many European and African countries, British ruled the Indian Sub-continent for centuries. The film Pinjar is based on a novel. It portrays the diversity of cultures, creeds, religions and traditions reflecting the era before and during the partition of Indian sub-continent. It enlightens many literary aspects and critical angles. This study revolves around this film, focusing on post-colonialism especially the partition era of 1947. Pierce’s Model of Semiotics, as a major framework has been adopted to draw all post-colonial aspects from the film Pinjar.

Sabah telemovie production has started in the year 2002. However recent challenges in term offinance. This situation has led Sabahan filmmaker to apply an alternative method of producingtelemovie. Therefore, by referring to Hamid Naficy’s accented cinema theory. This paperexamines the similarity between the Sabah telemovie production mode and the interstitial modeof production. Therefore, this paper also suggests several methods to improve the current Sabahtelemovie production.