ABSTRACT Amid concerns about the disappearance of national/cultural specificity due to globalisation, this paper questions the notion of Bruneian cinema as a distinct (if emerging) nationalised imaginary, using the example of Brunei’s first feature-length commercial film, Yasmine (Siti Kamaluddin 2014). Many Asian cinemas have de-territorialised, obsequiously promoting the secular, democratic norms of mainstream Hollywood, but the Sultanate, with its national philosophy of MIB (Malay Islamic Monarchy) and its recent implementation of Sharia Law, would, some Western critics apparently expect, push Islamic ideologies for its state-sanctioned media, including traditionally repressive, misogynistic expectations of the ‘authentic’ Muslima [Ahmed, Leila. 1999. “Women Living under Muslim Laws, Dossier 25.” A Border Passage. Farrar, Straus and Giroux. http://wrrc.wluml.org/node/465]. As with some Middle Eastern countries, such Western critics suggest, Bruneian women may be forced to cover themselves; abstain from driving, education or other means of self-empowerment; and submit to harsh, court-imposed punishments for sexual promiscuity; with the media duly promoting such norms. At the very least, Brunei’s entertainment media might soon resemble Islamic Turkey’s ‘Milli cinema’, which ‘brought Islam back into the movies and showed respect for Islam [and in which a] common theme [ … ] was to show characters that had adopted western values but who became unhappy and unsatisfied by those values’ [Yorulmaz, Bilal, and William L. Blizek. 2014. “Islam in Turkish Cinema.” Journal of Religion and Film 18 (2): 8]. What then of Yasmine, a Brunei government-funded film from a female director about a martial arts-obsessed schoolgirl who happily defies her father, rarely wears a veil, enthusiastically chases boys and drives a racy, eye-catching car? I ask how this national cultural artefact sits within the theocracy’s attempts to maintain its citizenry’s adherence to the tenets of Islam, given its foregrounding of a narrative promoting female self-empowerment? Furthermore, this paper asks why Brunei has failed to ride the digital film-making revolution, to the extent Lacaba states ‘Brunei has no film industry to speak of’ [2000. The Films of ASEAN. ASEAN Committee on Culture and Information]. Inconclusively perhaps, I propose this recent advance stems from a benevolent monarch’s commendable efforts to modernise, rather than historicise, Islam in Brunei generally and MIB, including Sharia Law, specifically, or else is part of an elaborate ruse to convince the Western world that women will not become second-class citizens in the new Brunei, ruled as it may be according to traditionally barbaric and misogynistic Sharia Law.

中文翻译：

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真正的回教徒，布鲁内斯电影院和Yasmine的民族想象者（导演：Siti Kamaluddin，2014年）

摘要由于担心全球化导致的国家/文化特殊性的消失，本文以文莱的第一部长篇商业电影《亚斯敏》（Siti Kamaluddin 2014）为例，质疑文莱电影是一种独特的（如果正在兴起的）国有化虚构电影的概念。 ）。许多亚洲电影院已经取消了地域划分，过分地推广了好莱坞主流的世俗民主准则，但一些西方评论家显然希望，苏丹国凭借其MIB（马来伊斯兰君主制）的国家理念和最近实施的伊斯兰教法，推动伊斯兰意识形态为其国家认可的媒体提供支持，包括对“地道”穆斯林的传统压制，反对女性主义的期望[Ahmed，Leila。1999年。“根据穆斯林法律生活的妇女，档案25”。边境通道。Farrar，Straus和Giroux。http://wrrc.wluml.org/node/465]。西方批评家认为，与某些中东国家一样，文莱妇女可能被迫掩饰自己；放弃驾驶，教育或其他自给自足的手段；并对性滥交处以严厉的法院惩罚；媒体适当宣传了这种规范。至少，文莱的娱乐媒体可能很快会类似于伊斯兰土耳其的“米利电影院”，后者“将伊斯兰教带回电影中并表示对伊斯兰教的尊重”，其中一个共同主题[…]旨在展示采用西方文化的人物。价值观，但对这些价值观感到不满和不满意的人[Yorulmaz，Bilal和William L. Blizek。2014年。“土耳其电影院中的伊斯兰教”。宗教与电影学报18（2）：8]。那么Yasmine，是文莱政府资助的一部女导演拍摄的电影，讲述的是一个对武术痴迷的女学生，她很乐意反抗父亲，很少戴面纱，热情地追逐男孩，开着一辆醒目的醒目的汽车？我想问问，鉴于其提倡叙事促进女性自我赋权的前景，这种民族文化文物如何落入神权政治试图维持其公民对伊斯兰教义的坚持之中？此外，本文提出了为什么文莱未能在数字电影制片革命上取得成功，在拉卡巴指出“文莱没有电影业可言”的范围内[2000年。东盟电影。东盟文化与信息委员会]。也许是无结论的建议，我认为最近的这一进展源于一个善良的君主为使文莱的伊斯兰教和MIB现代化而不是历史化而做出的值得称赞的努力，