Pontianak Trouble: Gender and Postcolonial Identities in the Malay Vampire Film

Abstract

Pontianak Trouble:Gender and Postcolonial Identities in the Malay Vampire Film Rosalind Galt (bio) The pontianak is one of the most popular supernatural creatures in Malay cinema: a female vampire who has died as a result of male violence or childbirth and who returns to haunt patriarchy. She first came to cinematic prominence in the late colonial studio cinema of Singapore. This article argues that the pontianak is a complexly expressive figure: a female vampire or ghost who troubles both normativities of gender and presiding narratives of postcolonial and global identity in Malaysia and Singapore. The pontianak is one of the most popular supernatural creatures in Malay cultures and is featured in a number of films, but she does not easily travel the world in the manner of Chinese, Japanese, or Korean ghosts. Instead, there's something stickily local about her, and in getting at the specifics of the pontianak, I want to think about how the popular mediates globality in this particular cultural context. Malaysia and Singapore as nations have been distinctively constituted in relation to the global flows of colonialism and capitalism, with highly racialized social structures, and folkloric horror films stage at once a desire for the local and the transnational circuits of its undoing. In the pontianak film, gender becomes the central term with which to negotiate what kinds of identity and social power are possible, and I argue that the pontianak disrupts both traditional and global forms of being. To begin, then, what is a pontianak? In Malay folklore, she is one of many hantu, or ghosts, and is a childbirth spirit. Walter Skeat, the British colonial civil servant who wrote the first major Anglophone account of Malay folklore, writes of [End Page 40] the spirits which are believed to attack both women and children at childbirth. . . . the Langsuir, which takes the form of an owl with long claws, which sits and hoots upon the roof-tree, the pontianak which is also a night-owl and is supposed to be the child of the langsuir. (325) Colonial anthropologists were not always entirely accurate, and the pontianak is more usually viewed as the spirit of a woman who dies in childbirth, rather than the child. Moreover, in transition from folk mythology to cinema, the pontianak has been revised: although she is sometimes still represented as an owl and can often be found in trees, she is more often represented as a beautiful woman with flowing black hair. Andrew Hock Soon Ng complains that characteristics such as fangs and rising from the grave are drawn from Western vampire stories (2009, 217), and we might equally link her to other international figures of female vampirism and undead vengeance, such as the Thai Mae Nak and the Indian churel. The pathways of these generic influences are complex, but as a distinctly Malay figure, the pontianak has become a mainstay of Malaysian popular cinema. We first see the pontianak in a series of hugely popular films in late colonial Singapore. Cathay Keris studio made five pontianak films: Pontianak (B. N. Rao, 1957), Dendam Pontianak/Pontianak's Revenge (B. N. Rao, 1957), Sumpah Pontianak/Curse of the Pontianak (B. N. Rao, 1958), Pontianak Kembali/Pontianak Returns (Ramon Estella, 1963), and Pontianak Gua Musang (B. N. Rao, 1964). In an effort to copy the success of the series, rival studio Shaw Brothers made their own series, with Anak Pontianak/Son of Pontianak (Ramon A. Estella, 1958), Gergasi (Dhiresh Ghosh, 1958), and Pusaka Pontianak/Pontianak Legacy (1965). After the studio system crashes in the wake of Malaysian and Singaporean independence, there were almost no pontianak films for decades. In 1975, an Australian filmmaker, Roger Sutton, made a low-budget film titled simply Pontianak in Singapore. Twenty-five years later, Djinn's Voodoo Nightmare: Return to Pontianak (2001) attempted a modern revision of the genre, more influenced by The Blair Witch Project (Sánchez and Myrick, 1998) than by Malay hantu films. The pontianak really returns in Malaysia after 2002, when the government relaxed censorship rules that had banned horror films and supernatural themes, and the second horror film to be made was Pontianak Harum Sundal Malam/Fragrant Night Vampire (Shuhaimi Baba, 2004). Since...