Figuratively, these elements which consist of five acts (Exposition, Rising Action, Climax, Falling Action and Denouement) can be visualized as a pyramid diagram, hence the name Freytag’s Pyramid. "According to a German scholar named Gustav Freytag (1893), the dramatic elements are regarded as the building block of a narrative structure.
These findings not only suggest the co-existence of both activities they may actually reinforce one another. Our analysis reveals that Hikayat Sang Kancil possesses strong interplay between cinematic form and visual meaning. In addition, personal recollection from two Malaysian animation pioneers, Goh Meng Huat and Hassan Abd Muthalib were also obtained to build historical foundation. Basically the aim is to establish understanding regarding the relationship between cinematic form and visual meaning (metaphor). Therefore, this study attempts to examine Hikayat Sang Kancil cartoon animation using mix method, compositional interpretation (Monaco, 2000) and content analysis (Rose, 2007). After more than 30 years, surprisingly there has not been any research that discusses the production and visual meaning of Hikayat Sang Kancil.
However after the last episode, the series were never to be seen again. Adding to this achievement, 2 more episodes (directed by Hassan Abd Muthalib) were produced later, Sang Kancil & Monyet (1984) and Sang Kancil & Buaya (1986).
This particular animation was actually singlehanded by Anandam Xavier who was an artist at the art department of FNM and it is also recognized by local researchers as the first made in Malaysia cartoon animation (Muliyadi Mahamood, 2003 Hassan Abd Muthalib, 2007 Ahmad Rafi, 2008).
In 1983, Radio Televisiyen Malaysia (RTM) premiered an animation short titled Hikayat Sang Kancil produced by Filem Negara Malaysia (FNM) (Hassan Abd Muthalib, 2007).
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