Southeast Asian Shapeshifters in the age of streaming: minor transnationalism, horror and reimagining MUBI in Malaysia

In Malaysia, the re-emergence of local horror films at the start of the twenty-first century after nearly 30 years of absence coincided with the rise of a new wave of digital filmmaking. Since then, digital streaming platforms have proliferated as new circulatory routes for engaged, political and independent local films and audiovisual works, being less stringent than the Malaysian mainstream, state-controlled film and media landscape. Streaming platforms appear to be more suited for hosting horror, since this genre is often targeted by censorship due to excessive violence, explicit images and emphasis on evil. Notably, 'Southeast Asian horror' has emerged as one of the key curating and marketing strategies for the global arthouse streaming service MUBI in Southeast Asia. Through an analysis of global, regional and local streaming platforms with a particular focus on MUBI's programming, alongside interviews with Malaysian film industry practitioners, this article explores how digital streaming services forge new circulatory routes for Southeast Asian cultural works and prompt new forms of 'minor transnationalism.

Automated summary

The re-emergence of local horror films in Malaysia in the early 21st century coincided with the rise of digital filmmaking. Digital streaming platforms have become new circulation routes for engaged and independent local films, offering more freedom compared to the Malaysian mainstream film landscape. Streaming platforms are particularly suitable for hosting horror movies, which often face censorship due to violence, explicit content, and focus on evil. Additionally, 'Southeast Asian horror' has become a key curating and marketing strategy for the global arthouse streaming service MUBI in Southeast Asia.