Music and Meaning in the Independence-Era Malaysian Films of P. RamleeAndrew Clay McgrawDOI 10.0000/625bfec3af08b9df8d43139998f7c478
The Ambivalence of P. Ramlee: Penarek Beca and Bujang Lapok in PerspectiveBarnard, Rohayati PasengIntellect2002DOI 10.1386/ac.13.2.9_1
FILM, LITERATURE, AND CONTEXT IN SOUTHEAST ASIA P. Ramlee, Malay Cinema, and HistoryTimothy P Barnard2019DOI 10.0000/d646cb7dd1221969d5c8bb2feb2b8514
Negotiating Class, Ethnicity and Modernity: the ‘Malaynisation’ of P. Ramlee and His FilmsAhmad, MahyuddinTaylor and Francis Group2014DOI 10.1080/01292986.2014.968595
Visualizing Islamic Law and Values in Semerah Padi (1956): P. Ramlee as Cinematographic AuteurZaki, Nurul Ezzati Aisya MohdProcedia - Social and Behavioral Sciences2014DOI 10.1016/j.sbspro.2014.10.303
Ramleela and Hosay: Contestation on the PeripheryKenneth V. ParmasadExtra Mural Department of the University College of the West Indies1999DOI 10.1080/00086495.1999.11829618
Cosmopolitan Sounds and Intimate Narratives in P. Ramlee’s Film MusicAdil JohanTaylor and Francis Group2019DOI 10.1080/07256868.2019.1628723
Performing in the Lap and at the Feet of God: Ramleela in Trinidad, 2006–2008Milla Cozart RiggioTDR/The Drama Review2010DOI 10.1162/dram.2010.54.1.106
TOWARDS 2000 – MODELS FOR MULTI-CULTURAL ARTS EDUCATIONKENNETH V. PARMASADExtra Mural Department of the University College of the West Indies1999DOI 10.2307/40654082
