- Twitter/IG: @ekkyij
Ekky Imanjaya
Bina Nusantara University, Film, Faculty Member
- Cultural Theory, Media Studies, Film Studies, Popular Culture, Cinema, Asian Studies, and 50 moreFilm Analysis, Southeast Asian Studies, Culture Studies, Media History, Film Genre, Film, Pop Culture, Film Aesthetics, Indonesian Studies, Horror Film, Film Adaptation, Indonesia, National Cinemas, Film and History, Cult Movies, Southeast Asian history, Indonesian Culture, Exploitation Cinema, Indonesia (Area Studies), Movie, The Beatles, Indonesian Cinema, Cult Cinema, Teacher Movies in Pop Culture, Dracula, Frankenstein, Fantastic Literature and film, Cult Film, Underground Film, Cult Film, B-movies, Southeast Asian Cinema, Asian Cinema, John Fiske, Reformasi, Perfilman, New Order, Film History, Genre, Islam in Indonesia, Italian neorealist cinema, Andre Bazin, Audience and Reception Studies, Low-budget feature films, Science Fiction and Fantasy, Fandom, Fan Cultures, Horror, Cult television, Fan Communities, Cultural Studies, Social Media, and New Mediaedit
- Ekky Imanjaya Ph.D is a faculty member of Film Department, Bina Nusantara (Binus) University, in Jakarta. In 2018, He... moreEkky Imanjaya Ph.D is a faculty member of Film Department, Bina Nusantara (Binus) University, in Jakarta. In 2018, He finished his doctoral studies in Film Studies at University of East Anglia, United Kingdom. Previously, Ekky got his masters degree majoring Philosophy at Universitas Indonesia (2003) as well as in Film Studies at Universiteit van Amsterdam (2008).
Ekky is also a film critic specializing in Indonesian cinema, and a board member of the Madani Film Festival and Jakarta Film Week. He is also a film critic and has published his articles in many popular magazines and newspapers as well as academic journals, including Cinemaya, Colloquy, Plaridel and Asian Cinema. He published some books regarding Indonesian films, pop culture, and Islamic culture issues, including "Mencari Film Madani: Sinema dan Dunia Islam" (2019), "Mujahid Film: Usmar Ismail" (2021), "99 Film Madani" (with Hikmat Darmawan, 2022), and "“The Real Guilty Pleasures: Menimbangulang Sinema Eksploitasi Transnasional Orde Baru”.
Ekky is currently the chairperson of Film Committee at Jakarta Arts Council (2021-2023).edit
Cinema, particularly documentary, can be a powerful vehicle for raising awareness of environmental sustainability. In the paper, the documentary film Pulau Plastik (Dandhy Laksono and Rahung Nasution 2021) is the subject of analysis. The... more
Cinema, particularly documentary, can be a powerful vehicle for raising awareness of environmental sustainability. In the paper, the documentary film Pulau Plastik (Dandhy Laksono and Rahung Nasution 2021) is the subject of analysis. The film has its premiere at the end of April 2021 in the cinema theatre in Jakarta, Yogyakarta, Surabaya and Denpasar and shows the plastic waste and its environmental damage. The documentary uses mise-en-scéne in its plot to evoke certain experience and emotion of the audience which we will examine its role and its psychological impact with the texts of the French philosopher Maurice Marleau-Ponty in the Philosophy of Embodiment, American experimental psychologist James Gibsons in Ecological Perception and American philosopher Sue Cataldi in Feelings, Depth and Flesh. The directors also use Cinéma Vérité Approach to strengthen the effect towards audience.
Research Interests:
As Parasite wins four Oscar awards at 2019 Academy Awards, including Best Picture and Best Director, more film scholars and critics pay more attention to the South Korean film industry, particularly to the film director, Bong Joon-Ho.... more
As Parasite wins four Oscar awards at 2019 Academy Awards, including Best Picture and Best Director, more film scholars and critics pay more attention to the South Korean film industry, particularly to the film director, Bong Joon-Ho. Regarding biospheric harmony, the director depicts “ecological monsters” in his works, namely toxic chemical waste, Genetically Modified Organisms (GMOs) and cruelty towards animals, and the frozen earth caused by global warming. By having a close reading and textual analysis on The Host (2006), Snowpiercer (2013), and Okja (2016), the research will focus on those films directed by Bong Joon-Ho, which represent the horrific environmental issues. Particularly, the authors will investigate how the three films depict the discourses of ecological problems. The results show how strong messages regarding ecological issues are represented in the three films, metaphorically and literally and become valuable lessons for environmentalists and film scholars/filmm...
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In this paper, the authors will try to better understand the phenomenon of gender swap film reboots by offering insight into why gender swap films are made in the first place , their purpose, and the role they play in Hollywood regarding... more
In this paper, the authors will try to better understand the phenomenon of gender swap film reboots by offering insight into why gender swap films are made in the first place , their purpose, and the role they play in Hollywood regarding gender equality and diversity. Since most gender swap reboots are adaptations from well-known franchises, it could give a new perspective and dimension to the story by telling it from the viewpoint of different genders. We assume that gender swap reboots were made to diversify movie casts by having female actors replace male actors and normalize the idea that women can do the same things as men. To prove our hypothesis, we will use a literature review and Netnography. In our study, we discovered that a handful of internet personalities and fans alike reject the idea of Ghostbusters (2016) because it has a different image from those they knew, which we argue is due to the gender swap factor itself. On the other hand, social activism also interplayed with gender swap phenomenon.
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by: Ephraim Ryan , Azwa Hanan, and Ekky Imanjaya In response to the pressing need to address climate change, there has been a growing interest in utilizing documentaries as a powerful tool for raising awareness and fostering social... more
by: Ephraim Ryan , Azwa Hanan, and Ekky Imanjaya
In response to the pressing need to address climate change, there has been a growing interest in utilizing documentaries as a powerful tool for raising awareness and fostering social change. This study adopts a comprehensive approach to analyze two influential environmental documentaries, namely Blackfish and An Inconvenient Truth. By employing a qualitative research methodology, specifically content
analysis, we aim to identify and examine the specific textual components and storytelling techniques employed in these films that contribute to their effectiveness in inspiring change. Our investigation focuses
on elucidating the narrative techniques, visual storytelling elements, and persuasive strategies utilized in the documentaries. By investigating these aspects, we seek to provide valuable insights and practical recommendations for filmmakers to create compelling and emotionally impactful films that can effectively promote social change.
In response to the pressing need to address climate change, there has been a growing interest in utilizing documentaries as a powerful tool for raising awareness and fostering social change. This study adopts a comprehensive approach to analyze two influential environmental documentaries, namely Blackfish and An Inconvenient Truth. By employing a qualitative research methodology, specifically content
analysis, we aim to identify and examine the specific textual components and storytelling techniques employed in these films that contribute to their effectiveness in inspiring change. Our investigation focuses
on elucidating the narrative techniques, visual storytelling elements, and persuasive strategies utilized in the documentaries. By investigating these aspects, we seek to provide valuable insights and practical recommendations for filmmakers to create compelling and emotionally impactful films that can effectively promote social change.
Research Interests:
The sophisticated technology-such as AI, robots, and other automation machines-can be a double-edged dagger. On the one hand, they can help humans and humanity to have a better and easier life. On the other hand, they can lead to... more
The sophisticated technology-such as AI, robots, and other automation machines-can be a double-edged dagger. On the one hand, they can help humans and humanity to have a better and easier life. On the other hand, they can lead to environmental problems-from plastic and electronic waste to obesityand, finally: Environmental destruction. In addition, a movie, including an animated film, can be a valuable and powerful vehicle as an educational tool to raise awareness of environmental issues as it can represent the negative effect of technology on the environment if people do not consider overcoming the ecological problems and maintaining biospheric harmony. This research will focus on the movie WALL-E (Andrew Stanton, 2008) and how it represents environmental damage and future life. By closely reading the film, the authors will analyse the struggle of life in the near future when the Earth is heavily polluted and full of trash and their attempt to return to sustainable well-being.
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In the age of social media and streaming platforms, the visuality of an idea has become much more important than before, including in the space of environmental activism. The representation of an ecoactivism idea campaigning for climate... more
In the age of social media and streaming platforms, the visuality of an idea has become much more important than before, including in the space of environmental activism. The representation of an ecoactivism idea campaigning for climate change, including the more radical practice of those activisms, is now communicated mainly not with written words but through the audio-visual medium of film or vlog to the audience. In the realm of cinema, films are worth analyzing regarding their representation of radical environmental activism Pom Poko (1994) directed by Isao Takahata, and First Reformed (2017) by Paul Schrader, because of their originality and nuanced representation of radical environmental activism. Through these films, we can see not only the surface representation of radical environmentalism but also the philosophy and reason behind it that usually has been overlooked. The authors chose both films to highlight that radical environmentalists' ideology and actions have been ...
Research Interests:
Disney characters always lead to gender development. Like a Disney princess who always depends on her prince to save her life. But now, the pattern is experiencing changes that occur in female characters. Women are no longer in a passive... more
Disney characters always lead to gender development. Like a Disney princess who always depends on her prince to save her life. But now, the pattern is experiencing changes that occur in female characters. Women are no longer in a passive position, but they begin to develop to be strong, challenging, and independent.
Through this paper, researchers will discuss several phases of the transition of female characters in Disney film production. By focusing on research questions, namely, how the nature of Disney women experiences a shift as a form of gender equality? To answer this question, researchers will use qualitative research methods that emphasize the depth of research and the results of the Disney film analysis.
Through this paper, researchers will discuss several phases of the transition of female characters in Disney film production. By focusing on research questions, namely, how the nature of Disney women experiences a shift as a form of gender equality? To answer this question, researchers will use qualitative research methods that emphasize the depth of research and the results of the Disney film analysis.
Research Interests:
Globally, the film industry decreased significantly due to COVID-19, starting in March 2020. Physical distancing, lockdown protocols, and other restricted regulations were applied. Vaccines were just founded and were not massively... more
Globally, the film industry decreased significantly due to COVID-19, starting in March 2020. Physical distancing, lockdown protocols, and other restricted regulations were applied. Vaccines were just founded and were not massively distributed. At that time, no official health protocols nor standard operating procedures regarding film production and movie theaters were applied in the "New Normal."The filmmaking businesses were threatened since film productions were restricted and movie theaters were closed down. The big dilemma occurred: which one was the priority: the safety of the crews and talents or the sustainability of national film industry? However, in 2021 there were some signs of progress. It started with Makmum 2 (December 2021), which obtained more than one million viewers. It is followed by Ku Kira Kau Rumah (February 2022) and KKN Desa Penari (April 2022), which reached 2,2 million and 3 million viewers, respectively. In prestigious film festivals, the movies such as Seperti Dendam, Rindu Harus Dibayar Tuntas, and Yuni won as the best pictures at Locarno Film Festival (August 2021) and Toronto Film Festival (September 2021), respectively. Many films showed cases in Festival Film Indonesia (December 2021). These have shown that the Indonesian film industry is becoming better commercially and critically. The paper investigates how the Indonesian filmmakers tried to adjust to the New Normal era from both creative works and business strategy perspectives. In particular, the authors will do the mapping on the best practices of health protocols applied in film production.
Research Interests:
Indonesia is rich in cultural diversity and traditions. Indonesia's unexpected cultural wealth ranges from tradition, art, tourism, and culinary. Indonesia is a country rich in culture. The relationship between Indonesian culture and... more
Indonesia is rich in cultural diversity and traditions. Indonesia's unexpected cultural wealth ranges from tradition, art, tourism, and culinary. Indonesia is a country rich in culture. The relationship between Indonesian culture and Indonesian Peranakan culture is also very close. The arrival of the Chinese from mainland China to Indonesia around the 14th or 15th century AD settled and married the locals, combining the socio-cultural and culinary diversity of the two nations. The culture born due to intercultural marriage is Indo-Chinese or Peranakan culture. This intangible heritage needs to be protected and preserved. Digital transformation in the manufacturing sector plays an essential role in the era of the industrial revolution 4.0. In 2018 the President of the Republic of Indonesia, Joko Widodo, launched a road map of Making Indonesia 4.0 with the aspiration to make Indonesia into the top 10 of the world economy by 2030. At the same time, Indonesia's s cultural and creative industries have developed, which play a significant role in promoting development. Indonesian economy. Indonesia supports creative innovation by deepening the concept that the cultural and creative industries encourage economic development. This paper raises the design of the Peranakan culture model to increase awareness of the Peranakan culture that can be sold in Indonesian tour packages. This model is expected to be developed to promote crossbreed tourism in other regions.
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Islamic films have found a devoted market in Indonesia. Commercial success will prolong the trend. Source: https://360info.org/islam-and-box-office-a-match-made-in-heaven/
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Animated films can be read as entertainment and a vehicle to reveal social, cultural, and environmental issues. One of the ecological problems is the bias of anthropocentric perspectives, which exclude and underestimate non-human agents... more
Animated films can be read as entertainment and a vehicle to reveal social, cultural, and environmental issues. One of the ecological problems is the bias of anthropocentric perspectives, which exclude and underestimate non-human agents such as animals from the consideration of their policymaking and other significant actions. In this worldview, instead of treating NHA as part of stakeholders, humans think they can exploit NHA and the environment for their benefit. This approach would threaten biospheric harmony. In this paper, Tarzan (1999) will be analyzed to determine whether the movie has an anthropocentric perspective or the other way around or both. The film is ideal since there are at least two kinds of human representations within the story. The first one is Tarzan, the main character, nurtured by and has a strong relationship with nature and oblivious about modern civilization until he met England explorers when he became an adult. On the other hand, Clayton is a hunter scout who disrespected the jungle and its dwellers. Textual analysis will be applied. A close reading of the movie will be undertaken to answer the research questions.
Research Interests:
In the age of social media and streaming platforms, the visuality of an idea has become much more important than before, including in the space of environmental activism. The representation of an ecoactivism idea campaigning for climate... more
In the age of social media and streaming platforms, the visuality of an idea has become much more important than before, including in the space of environmental activism. The representation of an ecoactivism idea campaigning for climate change, including the more radical practice of those activisms, is now communicated mainly not with written words but through the audio-visual medium of film or vlog to the audience. In the realm of cinema, films are worth analyzing regarding their representation of radical environmental activism Pom Poko (1994) directed by Isao Takahata, and First Reformed (2017) by Paul Schrader, because of their originality and nuanced representation of radical environmental activism. Through these films, we can see not only the surface representation of radical environmentalism but also the philosophy and reason behind it that usually has been overlooked. The authors chose both films to highlight that radical environmentalists' ideology and actions have been depicted relevantly since 1994 and continue in 2017 and beyond. Using hermeneutics reading of the text and Bordwell’s four levels of meanings, we found that the cinema, specifically fictional films, can be an effective tool to represent the nuanced idea of environmentalism and radical environmentalism as much as its documentary counterpart.
Research Interests:
Animated films can be read as entertainment and a vehicle to reveal social, cultural, and environmental issues. One of the ecological problems is the bias of anthropocentric perspectives, which exclude and underestimate non-human agents... more
Animated films can be read as entertainment and a vehicle to reveal social, cultural, and environmental issues.
One of the ecological problems is the bias of anthropocentric perspectives, which exclude and underestimate non-human
agents such as animals from the consideration of their policymaking and other significant actions. In this worldview,
instead of treating NHA as part of stakeholders, humans think they can exploit NHA and the environment for their benefit.
This approach would threaten biospheric harmony. In this paper, Tarzan (1999) will be analyzed to determine whether the
movie has an anthropocentric perspective or the other way around or both. The film is ideal since there are at least two
kinds of human representations within the story. The first one is Tarzan, the main character, nurtured by and has a strong
relationship with nature and oblivious about modern civilization until he met England explorers when he became an adult.
On the other hand, Clayton is a hunter scout who disrespected the jungle and its dwellers. Textual analysis will be applied.
A close reading of the movie will be undertaken to answer the research questions.
One of the ecological problems is the bias of anthropocentric perspectives, which exclude and underestimate non-human
agents such as animals from the consideration of their policymaking and other significant actions. In this worldview,
instead of treating NHA as part of stakeholders, humans think they can exploit NHA and the environment for their benefit.
This approach would threaten biospheric harmony. In this paper, Tarzan (1999) will be analyzed to determine whether the
movie has an anthropocentric perspective or the other way around or both. The film is ideal since there are at least two
kinds of human representations within the story. The first one is Tarzan, the main character, nurtured by and has a strong
relationship with nature and oblivious about modern civilization until he met England explorers when he became an adult.
On the other hand, Clayton is a hunter scout who disrespected the jungle and its dwellers. Textual analysis will be applied.
A close reading of the movie will be undertaken to answer the research questions.
Research Interests:
Disney characters always lead to gender development. Like a Disney princess who always depends on her prince to save her life. But now, the pattern is experiencing changes that occur in female characters. Women are no longer in a passive... more
Disney characters always lead to gender development. Like a Disney princess who always depends on her prince to save her life. But now, the pattern is experiencing changes that occur in female characters. Women are no longer in a passive position, but they begin to develop to be strong, challenging, and independent. Through this paper, researchers will discuss several phases of the transition of female characters in Disney film production. By focusing on research questions, namely, how the nature of Disney women experiences a shift as a form of gender equality? To answer this question, researchers will use qualitative research methods that emphasize the depth of research and the results of the Disney film analysis.
ISSN: 2169-8767 (U.S. Library of Congress)
ISBN: 978-1-7923-9162-0 September 2022, Vol. 12 No. 6
ISSN: 2169-8767 (U.S. Library of Congress)
ISBN: 978-1-7923-9162-0 September 2022, Vol. 12 No. 6
Research Interests:
Globally, the film industry decreased significantly due to COVID-19, starting in March 2020. Physical distancing, lockdown protocols, and other restricted regulations were applied. Vaccines were just founded and were not massively... more
Globally, the film industry decreased significantly due to COVID-19, starting in March 2020. Physical distancing, lockdown protocols, and other restricted regulations were applied. Vaccines were just founded and were not massively distributed. At that time, no official health protocols nor standard operating procedures regarding film production and movie theaters were applied in the "New Normal."The filmmaking businesses were threatened since film productions were restricted and movie theaters were closed down. The big dilemma occurred: which one was the priority: the safety of the crews and talents or the sustainability of national film industry? However, in 2021 there were some signs of progress. It started with Makmum 2 (December 2021), which obtained more than one million viewers. It is followed by Ku Kira Kau Rumah (February 2022) and KKN Desa Penari (April 2022), which reached 2,2 million and 3 million viewers, respectively. In prestigious film festivals, the movies such as Seperti Dendam, Rindu Harus Dibayar Tuntas, and Yuni won as the best pictures at Locarno Film Festival (August 2021) and Toronto Film Festival (September 2021), respectively. Many films showed cases in Festival Film Indonesia (December 2021). These have shown that the Indonesian film industry is becoming better commercially and critically. The paper investigates how the Indonesian filmmakers tried to adjust to the New Normal era from both creative works and business strategy perspectives. In particular, the authors will do the mapping on the best practices of health protocols applied in film production.
Research Interests:
As stipulated in the Indonesian Labour Law, every worker/labour is entitled to have a work safety and health protection. The Labour Law no. 13 Year 2003, for instance, regulates the working hour and overtime, break, and leaves, and the... more
As stipulated in the Indonesian Labour Law, every worker/labour is entitled to have a work safety and health protection. The Labour Law no. 13 Year 2003, for instance, regulates the working hour and overtime, break, and leaves, and the rights of employees. in fact, the rights of workers in film industry are already ensured by the Government in the Law of Film Year 2009. However, to this day Indonesian film industry does not seem to officially implement these laws. There were several cases of Health, Safety, and Environment (HSE), which caused dead or fatal injuries to film workers, without applying the regulations mentioned above. Other HSE issues include the cases where only few film producers gave insurance to the film workers or apply proper risk assessment or provide first aid kits. By having in-depth interview with key persons of the field, such as the workers who are also assessors of Indonesian National Work Competency Standards (Standar Kompetensi Kerja Nasional Indonesia. SKKNI), as well as and film producers, this research aims to map out such issues and answering why and how the laws on work health and safety are not implemented in the Indonesian film industry. This research has resulted in the maps of problems, recommendations for the policymakers, film workers, and related institutes concerning HSE and the rights of film workers.
ISSN: 2169-8767 (U.S. Library of Congress)
ISBN: 978-1-7923-9162-0
September 2022, Vol. 12 No. 6
ISSN: 2169-8767 (U.S. Library of Congress)
ISBN: 978-1-7923-9162-0
September 2022, Vol. 12 No. 6
Research Interests:
Mengumpulkan tulisannya sejak 2008 hingga medio 2017-an, lahirlah 11 tulisan yang terhimpun dalam buku saku berjudul Mujahid Film. Buku tersebut merupakan kumpulan tulisan dari pengajar yang juga merupakan kritikus film, Ekky Imanjaya... more
Mengumpulkan tulisannya sejak 2008 hingga medio 2017-an, lahirlah 11 tulisan yang terhimpun dalam buku saku berjudul Mujahid Film. Buku tersebut merupakan kumpulan tulisan dari pengajar yang juga merupakan kritikus film, Ekky Imanjaya PhD. Isinya mengenai seluk-beluk Bapak Perfilman Indonesia, Usmar Ismail.Salah satu tujuan Ekky menerbitkan buku tersebut, menurutnya, bukan untuk mengultuskan Usmar, melainkan sebagai jalan untuk lebih mengenal sosok multidimensi Usmar Ismail.“Setiap tahun (Hari Film) dirayakan, seremonial, mentok cuma di (film) Tiga Dara, Lewat Djam Malam. Padahal, dia adalah sosok yang dinamis dan multidimensi. Tidak jadi sekadar monumen atau tugu peringatan. Karena itulah saya membahasnya di buku Mujahid Film,” kata Ekky saat berbincang dengan Media Indones...
Research Interests:
Indonesia is rich in cultural diversity and traditions. Indonesia's unexpected cultural wealth ranges from tradition, art, tourism, and culinary. Indonesia is a country rich in culture. The relationship between Indonesian culture and... more
Indonesia is rich in cultural diversity and traditions. Indonesia's unexpected cultural wealth ranges from tradition, art, tourism, and culinary. Indonesia is a country rich in culture. The relationship between Indonesian culture and Indonesian Peranakan culture is also very close. The arrival of the Chinese from mainland China to Indonesia around the 14th or 15th century AD settled and married the locals, combining the socio-cultural and culinary diversity of the two nations. The culture born due to intercultural marriage is Indo-Chinese or Peranakan culture. This intangible heritage needs to be protected and preserved. Digital transformation in the manufacturing sector plays an essential role in the era of the industrial revolution 4.0. In 2018 the President of the Republic of Indonesia, Joko Widodo, launched a road map of Making Indonesia 4.0 with the aspiration to make Indonesia into the top 10 of the world economy by 2030. At the same time, Indonesia's cultural and creative industries have developed, which play a significant role in promoting development. Indonesian economy. Indonesia supports creative innovation by deepening the concept that the cultural and creative industries encourage economic development. This paper raises the design of the Peranakan culture model to increase awareness of the Peranakan culture that can be sold in Indonesian tour packages. This model is expected to be developed to promote crossbreed tourism in other regions.
Research Interests:
This research looks at how films contribute to the local economy, particularly their multiplier effects on its various sub-sectors. It focuses on Laskar Pelangi (2008, with 4.719.453 spectators) in Belitung Island and Ada Apa Dengan... more
This research looks at how films contribute to the local economy, particularly their multiplier effects on its various sub-sectors. It focuses on Laskar Pelangi (2008, with 4.719.453 spectators) in Belitung Island and Ada Apa Dengan Cinta? 2 (2016, with 3.665.509 spectators) in Yogyakarta and surroundings. This study argues that the analysis of tourism affected by both films is complementary: Laskar Pelangi case illustrates the macro conditions of tourism growth, while AADC2 better explains the micro situations. The researcher used a mixed-method approach, qualitative and quantitative, by combining statistical data with key person interviews and participant observation. This study compares the situation before and after the films' release and patterns, trends, and anomalies amongst similar data. We identified two types of tourists: film pilgrims (penziarah film), film fans who visit locations specifically related to the films they love and seek the same experiences as the characters in said films, and film travellers (pelancong film) those who come after attracted by word-of-mouth, promotions, and innovation, even though they have not even watched the films. Belitung is the perfect example of a place where film travellers and pilgrims can gather. Meanwhile, the categorization of film pilgrims is found in the majority of visitors to AADC2-related sites. The authors have demonstrated the significant impacts of Laskar Pelangi and AADC2 on their respective shooting locations, particularly their multiplying effect on the local economy, including job and business creation. In this context, both films not only created tourism destinations but also contributed significantly toward economic growth at the provincial or municipal level.
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Buku yang unik karena membahas dunia film di Indonesia, bukan dari sisi kreatif nya namun sisi ekonomi dan politiknya. Buku dengan tebal 374 halaman ini cocok untuk para orang yang ber-kecimplung di industri film khususnya sutradara dan... more
Buku yang unik karena membahas dunia film di Indonesia, bukan dari sisi kreatif nya namun sisi ekonomi dan politiknya. Buku dengan tebal 374 halaman ini cocok untuk para orang yang ber-kecimplung di industri film khususnya sutradara dan produser. Bahasan dan data yang disajikan di buku ini sangatlah kuat. Mampu memberikan sebuah alasan dan jawaban yang sering di pertanyakan oleh pecinta film di Indonesia. “Mengapa banyak film receh di Indonesia?”, jawabannya menurut buku ini pada tahun itu karena dalam perekonomian film di Indonesia tidak ada posisi tawar menawar oleh distributor-eksebitor karena resiko bisnis film yang tinggi. Sehingga beban untuk promosi kadang-kadang harus ditanggung oleh produser sendiri. Kalau diliat dari sisi kreatif, banyak sutradara di Indonesia yang muncul karena otodidak atau belajar sendiri
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142 hal.; 21 cm
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xiv, 84 hal. : ill.; 20 cm
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Do Commercialism and Islamic Law (Shariah) and Virtues become potential factors to lower the quality of so-called Indonesian ?Islamic Cinema??. Those factors seem to be embedded in most recent post- New Order Islamic films, and some film... more
Do Commercialism and Islamic Law (Shariah) and Virtues become potential factors to lower the quality of so-called Indonesian ?Islamic Cinema??. Those factors seem to be embedded in most recent post- New Order Islamic films, and some film critics highlight that most of the movies in this ?genre? are mediocre. In Salim Said?s point-of-view, the battle between commercial films versus idealist films is eternal. But how about the position of Islamic Law and virtues both in the content and (pre)production of idealist Islamic films: to endorse or to worsen the quality of the movie? On the other hand, there are some discourses from Dakwah activist claiming that both filmmaking process and the stories should obey fit with Fiqih and Shariah. For example, they try to find the way out the problem when there is a scene about husband and wife hugging, but in the real life they are not the real couple (thus, they are not allowed to do so). Ketika Cinta Bertasbih (When Love is praying) is another interesting case, while they create a TV show for casting the actors to be fitted with some Islamic values embodied in fiction characters.
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Mencari Film Madani: Sinema dan Dunia Islam merupakan kumpulan tulisan Ekky Imanjaya dengan tema khusus tentang seluk-beluk “film Islam”. Ekky Imanjaya sejak awal 2000-an berkarier sebagai wartawan dan kritikus film, lalu menekuni studi... more
Mencari Film Madani: Sinema dan Dunia Islam merupakan kumpulan tulisan Ekky Imanjaya dengan tema khusus tentang seluk-beluk “film Islam”. Ekky Imanjaya sejak awal 2000-an berkarier sebagai wartawan dan kritikus film, lalu menekuni studi film hingga meraih gelar master di Universitat van Amsterdam (Belanda) dan doctoral di University of East Anglia (Norwich, Inggris). Kumpulan ini menjadi unik sekaligus penting dalam konteks tumbuhnya genre film religious di dalam perfilman kita dari masa ke masa. Ekky menawarkan perspektif yang berpijak dari pengalamannya aktif di dunia dakwah semasa mudanya. Unduh e-book-nya: https://drive.google.com/drive/folders/1FRtP6s_YfFVx1ExyQoFW18K1NDq5qLus
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This articles explores how Indonesian film industry employed subversive and exploitative techniques to struggle against a dominant order. In particular, it discusses how the Indonesian exploitation films produced under the New Order... more
This articles explores how Indonesian film industry employed subversive and exploitative techniques to struggle against a dominant order. In particular, it discusses how the Indonesian exploitation films produced under the New Order Regime positioned their villains and criminals as symbols of the Suharto government, and how local and international fan activity and targeted DVD distribution has subsequently attained cult classification for many of these films. The films under consideration were produced and released in Indonesian cinemas during Suharto's New Order Regime (1966-1998). During this time nobody dared to voice their differences or criticize the government, without fear of being silenced or 'disappearing.' Nowadays the Indonesian people have more freedom to express their opinion although it may be different from, or even against, the government. The strongest period for this genre was approximately twenty years before the Reform Movement which led to the downfa...
Research Interests: Religion, Indonesian Culture, Popular Culture, Spirituality, Indonesian Studies, and 14 moreAudience and Reception Studies, Gender, Exploitation Cinema, Fan Cultures, Fandom, Cult television, Science Fiction and Fantasy, Cult Movies, Body Modification, Fanfiction, Fan Communities, Fan Charity, Horror, and Adaptation and Appropriation Theory
Die Reformasi Bewegung stürzte 1998 Präsident Suharto und brachte große soziale und politische Veränderungen. Aber wie waren Filme an diesen Wandel beteiligt und wie wirkten sich die gesellschaftspolitischen Veränderungen auf das... more
Die Reformasi Bewegung stürzte 1998 Präsident Suharto und brachte große soziale und politische Veränderungen. Aber wie waren Filme an diesen Wandel beteiligt und wie wirkten sich die gesellschaftspolitischen Veränderungen auf das indonesische Kino aus?
Research Interests:
Film archiving and local exploitation films, let alone the trashy film archive, are marginal in the discourses of film journalism, scholarship, policies, and criticism in Indonesia (Imanjaya, 2009c; Imanjaya, 2012a; Imanjaya, 2014).... more
Film archiving and local exploitation films, let alone the trashy film archive, are marginal in the discourses of film journalism, scholarship, policies, and criticism in Indonesia (Imanjaya, 2009c; Imanjaya, 2012a; Imanjaya, 2014). However, this paper will demonstrate the importance of Indonesian exploitation cinema, alternative film archives, and exploitation film preservation. It will focus on the output of Mondo Macabro, a transnational DVD label that consistently preserves world trashy films, including Indonesian films produced from the 1970s to the 1990s. By focusing on its DVD paratexts, that is, its DVD covers, special features, and online promotional materials, and applying the Chaperone archiving model also applied by Criterion Collection, this paper will also argue that Mondo Macabro gives trashy or cult films a new lease on life, and more importantly, treats them as collector’s items.
Research Interests:
Film-induced tourism becomes a new emerging issue in tourism and scholarly research for the last 10 years. London’s “Harry Potter” series and New Zealand’s “Lord of the Rings” are among the best practices of the trend. On the other hand,... more
Film-induced tourism becomes a new emerging issue in tourism and scholarly research for the last 10 years. London’s “Harry Potter” series and New Zealand’s “Lord of the Rings” are among the best practices of the trend. On the other hand, Indonesia is a country with many beautiful places to visit by both local and international tourists. The number of visitors increases significantly every year. However, there is no contribution from film industry, both from local or international production, related to this increasing numbers of tourists, not before national movie production “Laskar Pelangi, 2008” (Rainbow Troops, 2008) by Riri Riza, and international box office movie production “Eat, Pray Love, 2010”. The study research will discuss about film induced tourism issues in Indonesia, particularly on why and how the two films--so far, until recently, only those two films--became phenomenon in film tourism--and why other films did not.
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Research Interests:
Research Interests:
A List of books, papers, etc related to Indonesian Cinema written in English.
Research Interests:
Page 1. A ABOUT INDONESIAN FILM Buku ini membuktikan bahwa banyak aspek menarik dari perkembangan film Indonesia. Riri Riza, Sutradara Film Petualangan Sherina, Eliana Eliana, Gie. dan Untuk Rena Page 2. Page 3. ...
Research Interests:
Research Interests:
Research Interests:
Classic Indonesian exploitation films (originally produced, distributed, and exhibited in the New Order’s Indonesia from 1979 to 1995) are commonly negligible in both national and transnational cinema contexts, in the discourses of film... more
Classic Indonesian exploitation films (originally produced, distributed, and exhibited in the New Order’s Indonesia from 1979 to 1995) are commonly negligible in both national and transnational cinema contexts, in the discourses of film criticism, journalism, and studies. Nonetheless, in the 2000s, there has been a global interest in re-circulating and consuming this kind of films. The films are internationally considered as “cult movies” and celebrated by global fans. This thesis will focus on the cultural traffic of the films, from late 1970s to early 2010s, from Indonesia to other countries. By analyzing the global flows of the films I will argue that despite the marginal status of the films, classic Indonesian exploitation films become the center of a taste battle among a variety of interest groups and agencies. The process will include challenging the official history of Indonesian cinema by investigating the framework of cultural traffic as well as politics of taste, and highl...
Research Interests:
Research Interests:
During the dictatorship of Indonesia’s New Order regime (1966-1998), local exploitation films, layar tancap (traveling cinema) and its spectators were marginalised by legitimate culture. For example, layar tancap shows were framed to... more
During the dictatorship of Indonesia’s New Order regime (1966-1998), local exploitation films, layar tancap (traveling cinema) and its spectators were marginalised by legitimate culture. For example, layar tancap shows were framed to only operate in rural and suburban areas and were policed with several strict policies. Nonetheless, in this paper, I will demonstrate that layar tancap shows and their rural audiences are signs of cultural resistance which challenges legitimate culture, and that exploitation movies were a significant part of the process. By observing the New Order’s film policies as well as general and trade magazines, I will investigate why and how this kind of cinema operated as displays of classic Indonesian exploitation movies - the films the New Order was actually trying to eliminate - and how they generated a unique subculture of rural spectatorship. Here, I also want to highlight how various kinds of politics of taste - from the government to the rural spectators and the layar tancap entrepreneurs - interplayed in relation with local exploitation films, its rural audiences, and its culture of exhibition.
Research Interests:
Film archiving and local exploitation films, let alone the trashy film archive, are marginal in the discourses of film journalism, scholarship, policies, and criticism in Indonesia (Imanjaya, 2009c; Imanjaya, 2012a; Imanjaya, 2014).... more
Film archiving and local exploitation films, let alone the trashy film archive, are marginal in the discourses of film journalism, scholarship, policies, and criticism in Indonesia (Imanjaya, 2009c; Imanjaya, 2012a; Imanjaya, 2014). However, this paper will demonstrate the importance of Indonesian exploitation cinema, alternative film archives, and exploitation film preservation. It will focus on the output of Mondo Macabro, a transnational DVD label that consistently preserves world trashy films, including Indonesian films produced from the 1970s to the 1990s. By focusing on its DVD paratexts, that is, its DVD covers, special features, and online promotional materials, and applying the Chaperone archiving model also applied by Criterion Collection, this paper will also argue that Mondo Macabro gives trashy or cult films a new lease on life, and more importantly, treats them as collector’s items.
Research Interests:
Research Interests:
Film-induced tourism becomes a new emerging issue in tourism and scholarly research for the last 10 years. London’s “Harry Potter” series and New Zealand’s “Lord of the Rings” are among the best practices of the trend. On the other hand,... more
Film-induced tourism becomes a new emerging issue in tourism and scholarly research for the last 10 years. London’s “Harry Potter” series and New Zealand’s “Lord of the Rings” are among the best practices of the trend. On the other hand, Indonesia is a country with many beautiful places to visit by both local and international tourists. The number of visitors increases significantly every year. However, there is no contribution from film industry, both from local or international production, related to this increasing numbers of tourists, not before national movie production “Laskar Pelangi, 2008” (Rainbow Troops, 2008) by Riri Riza, and international box office movie production “Eat, Pray Love, 2010”. The study research will discuss about film induced tourism issues in Indonesia, particularly on why and how the two films--so far, until recently, only those two films--became phenomenon in film tourism--and why other films did not.
Research Interests:
Banyak orang mengunggah berbagai materi ke meedia sosial yang berhubungan dengan memori kolektif. Pertanyaannya: Sejauh mana kita bisa menganggap Media-Baru, dalam hal ini Youtube dan Facebook, sebagai museum? Dan apa kendalanya? Penulis... more
Banyak orang mengunggah berbagai materi ke meedia sosial yang berhubungan dengan memori kolektif. Pertanyaannya: Sejauh mana kita bisa menganggap Media-Baru, dalam hal ini Youtube dan Facebook, sebagai museum? Dan apa kendalanya?
Penulis membatasi masalah pada memori kolektif kaum urban atas budaya pop yang pernah mereka alami, khususnya materi audio visual. Dan umumnya sumber berasal dari cuplikan TVRI atau film-film bioskop. Dan fokus paper ini adalah Youtube dan
Facebook dengan materi audio visual karya anak bangsa sendiri.
Ini adalah paper yang saya presentasikan di Universitas Mercu Buana, 10 Mei 2011. Versi cetaknya dimuat dalam buku " The Reposition of Communication in the Dynamic Convergence: Reposisi Komunikasi dalam Dinamika Konvergensi" (Universitas Mercu Buana, Januari 2012).
Link: http://fikom.mercubuana.ac.id/wp-content/uploads/2015/07/SemuaTerekamTakPernahMati_EkkyImanjaya.pdf
Penulis membatasi masalah pada memori kolektif kaum urban atas budaya pop yang pernah mereka alami, khususnya materi audio visual. Dan umumnya sumber berasal dari cuplikan TVRI atau film-film bioskop. Dan fokus paper ini adalah Youtube dan
Facebook dengan materi audio visual karya anak bangsa sendiri.
Ini adalah paper yang saya presentasikan di Universitas Mercu Buana, 10 Mei 2011. Versi cetaknya dimuat dalam buku " The Reposition of Communication in the Dynamic Convergence: Reposisi Komunikasi dalam Dinamika Konvergensi" (Universitas Mercu Buana, Januari 2012).
Link: http://fikom.mercubuana.ac.id/wp-content/uploads/2015/07/SemuaTerekamTakPernahMati_EkkyImanjaya.pdf
Research Interests:
An Introduction from guest editor. "The Bad, The Worse, and The Worst: The Significance of Indonesian Cult, Exploitation, and B Movies" Plaridel Journal, Special Issue, Vol 11, Issue No. 2, 2014. Guest Editor: Ekky Imanjaya (PhD... more
An Introduction from guest editor.
"The Bad, The Worse, and The Worst: The Significance of Indonesian Cult, Exploitation, and B Movies"
Plaridel Journal, Special Issue, Vol 11, Issue No. 2, 2014.
Guest Editor: Ekky Imanjaya
(PhD Candidate, University of East Anglia, UK;
faculty member, school of Film, Binus International, Bina Nusantara University, Indonesia)
Front cover: http://www.plarideljournal.org/author/ekky-imanjaya
Table of Content: http://plarideljournal.org/article/table-contents-0
1. A Note from the Editor : The Significance of Indonesian Cult, Exploitation, and B-Movies
By Ekky Imanjaya (guest editor; PhD Candidate, University of East Anglia; Lecturer, Bina Nusantara University) http://plarideljournal.org/article/significance-indonesian-cult-exploitation-and-b-movies
2. Exploiting Indonesia: From “Primitives” to “Outraged Fugitives”
By Thomas Barker (Assistant Professor of Film and Television, the University of Nottingham Malaysia Campus)
http://plarideljournal.org/article/exploiting-indonesia-primitives-outraged-fugitives
3. The Raiding Dutchmen: Colonial stereotypes, identity and Islam in Indonesian B-movies
By Eric Sasono (postgraduate student at Film Studies Department, King’s College, London)
http://plarideljournal.org/article/raiding-dutchmen-colonial-stereotypes-identity-and-islam-indonesian-b-movies
4. The Earth is Getting Hotter: Urban Inferno and Outsider Women’s Collectives in Bumi Makin Panas
By Dag Yngvesson (PhD Candidate, University of Minnesota)
http://plarideljournal.org/article/earth-getting-hotter-urban-inferno-and-outsider-women%E2%80%99s-collectives-bumi-makin-panas
5. Challenging New Order’s Gender Ideology in Benyamin Sueb’s Betty Bencong Slebor: A Queer Reading
By Maimunah Munir (doctoral program student , South East Asian Studies, the University of Sydney, Australia)
http://plarideljournal.org/article/challenging-new-order%E2%80%99s-gender-ideology-benyamin-sueb%E2%80%99s-betty-bencong-slebor-queer-reading-0
6. Genre versus Local Specificity: Configuring Rangda and Durga in Balinese and Bengali Films
By Makbul Mubarak (Lecturer, Universitas Multimedia Nusantara)—coming soon.
Abstract:
http://www.plarideljournal.org/article/genre-versus-local-specificity-configuring-rangda-and-durga-balinese-and-bengali-films
7. Beneath Still Waters: Brian Yuzna and the Transnational Indonesian Terror Text
By Xavier Mendik (Associate Head in the School of Art, Media and Design at the University of Brighton, Director of Cine-Excess International Film Festival
http://plarideljournal.org/article/beneath-still-waters-brian-yuzna%E2%80%99s-ritual-return-indonesian-cinema
Documents:
1. When East Meets West: American and Chinese influences on early Indonesian Action cinema
The List of Filmography of Early Indonesian Action Movies (1926-1941)
compiled by by Bastian Meiresonne (Asian movies specialist, director of Garuda Power: The Spirit Within)
http://plarideljournal.org/article/when-east-meets-west-american-and-chinese-influences-early-indonesian-action-cinema-list
2. On Lady Terminator
Interview with Barbara Anne Constable
By Andrew Leavold (Ph.D. candidate, Griffith University, director of “The Search for Weng Weng”)
http://plarideljournal.org/article/lady-terminator-interview-barbara-anne-constable
3. Beneath Still Waters: The Brian Yuzna Interview http://plarideljournal.org/article/beneath-still-waters-brian-yuzna-interview
By Xavier Mendik
4. Scripting an Indonesian Monster: The John Penney Interview: http://plarideljournal.org/article/scripting-indonesian-monster-john-penney-interview
"The Bad, The Worse, and The Worst: The Significance of Indonesian Cult, Exploitation, and B Movies"
Plaridel Journal, Special Issue, Vol 11, Issue No. 2, 2014.
Guest Editor: Ekky Imanjaya
(PhD Candidate, University of East Anglia, UK;
faculty member, school of Film, Binus International, Bina Nusantara University, Indonesia)
Front cover: http://www.plarideljournal.org/author/ekky-imanjaya
Table of Content: http://plarideljournal.org/article/table-contents-0
1. A Note from the Editor : The Significance of Indonesian Cult, Exploitation, and B-Movies
By Ekky Imanjaya (guest editor; PhD Candidate, University of East Anglia; Lecturer, Bina Nusantara University) http://plarideljournal.org/article/significance-indonesian-cult-exploitation-and-b-movies
2. Exploiting Indonesia: From “Primitives” to “Outraged Fugitives”
By Thomas Barker (Assistant Professor of Film and Television, the University of Nottingham Malaysia Campus)
http://plarideljournal.org/article/exploiting-indonesia-primitives-outraged-fugitives
3. The Raiding Dutchmen: Colonial stereotypes, identity and Islam in Indonesian B-movies
By Eric Sasono (postgraduate student at Film Studies Department, King’s College, London)
http://plarideljournal.org/article/raiding-dutchmen-colonial-stereotypes-identity-and-islam-indonesian-b-movies
4. The Earth is Getting Hotter: Urban Inferno and Outsider Women’s Collectives in Bumi Makin Panas
By Dag Yngvesson (PhD Candidate, University of Minnesota)
http://plarideljournal.org/article/earth-getting-hotter-urban-inferno-and-outsider-women%E2%80%99s-collectives-bumi-makin-panas
5. Challenging New Order’s Gender Ideology in Benyamin Sueb’s Betty Bencong Slebor: A Queer Reading
By Maimunah Munir (doctoral program student , South East Asian Studies, the University of Sydney, Australia)
http://plarideljournal.org/article/challenging-new-order%E2%80%99s-gender-ideology-benyamin-sueb%E2%80%99s-betty-bencong-slebor-queer-reading-0
6. Genre versus Local Specificity: Configuring Rangda and Durga in Balinese and Bengali Films
By Makbul Mubarak (Lecturer, Universitas Multimedia Nusantara)—coming soon.
Abstract:
http://www.plarideljournal.org/article/genre-versus-local-specificity-configuring-rangda-and-durga-balinese-and-bengali-films
7. Beneath Still Waters: Brian Yuzna and the Transnational Indonesian Terror Text
By Xavier Mendik (Associate Head in the School of Art, Media and Design at the University of Brighton, Director of Cine-Excess International Film Festival
http://plarideljournal.org/article/beneath-still-waters-brian-yuzna%E2%80%99s-ritual-return-indonesian-cinema
Documents:
1. When East Meets West: American and Chinese influences on early Indonesian Action cinema
The List of Filmography of Early Indonesian Action Movies (1926-1941)
compiled by by Bastian Meiresonne (Asian movies specialist, director of Garuda Power: The Spirit Within)
http://plarideljournal.org/article/when-east-meets-west-american-and-chinese-influences-early-indonesian-action-cinema-list
2. On Lady Terminator
Interview with Barbara Anne Constable
By Andrew Leavold (Ph.D. candidate, Griffith University, director of “The Search for Weng Weng”)
http://plarideljournal.org/article/lady-terminator-interview-barbara-anne-constable
3. Beneath Still Waters: The Brian Yuzna Interview http://plarideljournal.org/article/beneath-still-waters-brian-yuzna-interview
By Xavier Mendik
4. Scripting an Indonesian Monster: The John Penney Interview: http://plarideljournal.org/article/scripting-indonesian-monster-john-penney-interview
Research Interests:
Research Interests:
Usmar Ismail, considered as the Father of Indonesian Cinema, made films in what was then called Malaya. The titles are Korban Fitnah / Defamation Victim, produced in 1959 by Cathay-Keris Films in Singapore, and Bayangan di Waktu Fajar /... more
Usmar Ismail, considered as the Father of Indonesian Cinema, made films in what was then called Malaya. The titles are Korban Fitnah / Defamation Victim, produced in 1959 by Cathay-Keris Films in Singapore, and Bayangan di Waktu Fajar / Shadow at Dawn, released in 1963 with Cathay-Keris co-producing with PERFINI, Usmar’s own film production company. In Malaysia, those two films are available in VCD format. But in Indonesia, the films are forgotten and the only access to watch them is to go to Sinematek Indonesia. Those two films are cases of "Orphan Films".
Research Interests:
Indonesian film posters were accused as plagiarism by common people. However, academically speaking, it needs deeper skills and knowledge to prove acts of plagiarism. This paper will discuss the issues around Indonesian film posters and... more
Indonesian film posters were accused as plagiarism by common people. However, academically speaking, it needs deeper skills and knowledge to prove acts of plagiarism. This paper will discuss the issues around Indonesian film posters and plagiarism, including the possibility of citing in graphic design. The research will treat film posters not only as marketing tools to promote the movies, as many people consider, but also as graphic design materials. Some terms such as appropriation, homage, and pastiche will be discussed to analyze the phenomenon.
Research Interests:
Many Indonesian movie-goers think that Indonesian films must be avoided because of the bad quality and just wasting time and money.
Why do the movie-goers become traumatic? How to mend these mocking spectators?
Why do the movie-goers become traumatic? How to mend these mocking spectators?
Research Interests:
Ekky Imanjaya's anthology of essays, academic papers, and popular writings on Usmar Ismail (Considered as the Father of Indonesian Cinema), launched as part of the celebration of the 100th Years of Usmar Ismail (20 March 1921-2021) Some... more
Ekky Imanjaya's anthology of essays, academic papers, and popular writings on Usmar Ismail (Considered as the Father of Indonesian Cinema), launched as part of the celebration of the 100th Years of Usmar Ismail (20 March 1921-2021)
Some articles are in Indonesian, some are in English.
Chapters:
Usmar Ismail: Sebuah Perkenalan
1. Introduction to Usmar Ismail
2. Sang Mujahid Seni Indonesia
Ulasan Film
3. Tiga Menguak Usmar
4. Tukang Obat dan Kampanye Caleg di Sinema Kita,
5. Harimau Tjampa: Kelindan Pencak Silat dengan Islam
Lesbumi, Sensor, Politik
6. Sensor dalam Film
7. Lesbumi, Dari Jembatan Ulama-Seniman
Warisan, Restorasi, dan Transnasionalisme
8. Restoration of Lewat Djam Malam: The Importance, the Process, and the Obstacles
9. Two Orphan Films by Usmar Ismail
10. Indonesia’s Three Sisters Movies, Cultural Importance, and the Legacy of Challenging the Society
11. Revisiting Italian Neorealism: Its influence toward Indonesia and Asian Cinema or There’s No Such Thing Like Pure Neorealist Films
It can be purchased on
(1) Shopee: https://shopee.co.id/Mujahid-Film-Usmar-Ismail-i.134996611.8029183334 Rp 65.000,- (pre-order, printed)
(2) Storial.co https://www.storial.co/book/mujahid-film-usmar-ismail (e-book, full version Rp 55.000,- can be purchased per articles)
Or, simply type “Usmar Ismail” at di Shopee.co.id or Storial.co
#100TahunUsmarIsmail #BulanFilmNasional
Some articles are in Indonesian, some are in English.
Chapters:
Usmar Ismail: Sebuah Perkenalan
1. Introduction to Usmar Ismail
2. Sang Mujahid Seni Indonesia
Ulasan Film
3. Tiga Menguak Usmar
4. Tukang Obat dan Kampanye Caleg di Sinema Kita,
5. Harimau Tjampa: Kelindan Pencak Silat dengan Islam
Lesbumi, Sensor, Politik
6. Sensor dalam Film
7. Lesbumi, Dari Jembatan Ulama-Seniman
Warisan, Restorasi, dan Transnasionalisme
8. Restoration of Lewat Djam Malam: The Importance, the Process, and the Obstacles
9. Two Orphan Films by Usmar Ismail
10. Indonesia’s Three Sisters Movies, Cultural Importance, and the Legacy of Challenging the Society
11. Revisiting Italian Neorealism: Its influence toward Indonesia and Asian Cinema or There’s No Such Thing Like Pure Neorealist Films
It can be purchased on
(1) Shopee: https://shopee.co.id/Mujahid-Film-Usmar-Ismail-i.134996611.8029183334 Rp 65.000,- (pre-order, printed)
(2) Storial.co https://www.storial.co/book/mujahid-film-usmar-ismail (e-book, full version Rp 55.000,- can be purchased per articles)
Or, simply type “Usmar Ismail” at di Shopee.co.id or Storial.co
#100TahunUsmarIsmail #BulanFilmNasional
Research Interests:
Kumpulan esai, ulasan, laporan festival film, wawancara, dan trivia. Lebih dari 1600 halaman. Unduh gratis: https://drive.google.com/drive/folders/1YiMAx-fjtRZo02cUhJd0ygaZvPfJlAsA Seri Wacana Sinema. Penerbit: Komite Film Dewan... more
Kumpulan esai, ulasan, laporan festival film, wawancara, dan trivia.
Lebih dari 1600 halaman.
Unduh gratis: https://drive.google.com/drive/folders/1YiMAx-fjtRZo02cUhJd0ygaZvPfJlAsA
Seri Wacana Sinema.
Penerbit: Komite Film Dewan Kesenian Jakarta, 2019
Direktur Penerbitan : Hikmat Darmawan
Editor Seri : Ekky Imanjaya
Editor:
Ekky Imanjaya
Hikmat Darmawan
Rumah Film:
Asmayani Kusrini, Ekky Imanjaya, Eric Sasono, Hikmat Darmawan, Ifan Ismail, Krisnadi Yuliawan
Kontributor:
Bobby Batara, Donny Anggoro, Hassan Abdul Muthalib, Intan Paramaditha, Veronika Kusumaryati, Ade Irwansyah, Grace Samboh, Homer Harianja, Windu Jusuf,
Penyelaras : Ignatius Haryanto
Desain dan Tata Letak : Ardi Yunanto & Andang Kelana
Lebih dari 1600 halaman.
Unduh gratis: https://drive.google.com/drive/folders/1YiMAx-fjtRZo02cUhJd0ygaZvPfJlAsA
Seri Wacana Sinema.
Penerbit: Komite Film Dewan Kesenian Jakarta, 2019
Direktur Penerbitan : Hikmat Darmawan
Editor Seri : Ekky Imanjaya
Editor:
Ekky Imanjaya
Hikmat Darmawan
Rumah Film:
Asmayani Kusrini, Ekky Imanjaya, Eric Sasono, Hikmat Darmawan, Ifan Ismail, Krisnadi Yuliawan
Kontributor:
Bobby Batara, Donny Anggoro, Hassan Abdul Muthalib, Intan Paramaditha, Veronika Kusumaryati, Ade Irwansyah, Grace Samboh, Homer Harianja, Windu Jusuf,
Penyelaras : Ignatius Haryanto
Desain dan Tata Letak : Ardi Yunanto & Andang Kelana
Research Interests:
Mencari Film Madani: Sinema dan Dunia Islam merupakan kumpulan tulisan Ekky Imanjaya dengan tema khusus tentang seluk-beluk “film Islam”. Ekky Imanjaya sejak awal 2000-an berkarier sebagai wartawan dan kritikus film, lalu menekuni studi... more
Mencari Film Madani: Sinema dan Dunia Islam merupakan kumpulan tulisan Ekky Imanjaya dengan tema khusus tentang seluk-beluk “film Islam”. Ekky Imanjaya sejak awal 2000-an berkarier sebagai wartawan dan kritikus film, lalu menekuni studi film hingga meraih gelar master di Universitat van Amsterdam (Belanda) dan doctoral di University of East Anglia (Norwich, Inggris). Kumpulan ini menjadi unik sekaligus penting dalam konteks tumbuhnya genre film religious di dalam perfilman kita dari masa ke masa. Ekky menawarkan perspektif yang berpijak dari pengalamannya aktif di dunia dakwah semasa mudanya.
Unduh e-book-nya: https://drive.google.com/drive/folders/1FRtP6s_YfFVx1ExyQoFW18K1NDq5qLus
Unduh e-book-nya: https://drive.google.com/drive/folders/1FRtP6s_YfFVx1ExyQoFW18K1NDq5qLus
Research Interests:
Banyak orang tak percaya bahwa industri film Indonesia sudah ada. Belum ada infrastruktur, riset dan pengembangan dan berbagai lembaga dalam perfilman kita layaknya yang ada pada sebuah kegiatan industri. Jika pun ada, bisa dibilang... more
Banyak orang tak percaya bahwa industri film Indonesia
sudah ada. Belum ada infrastruktur, riset dan pengembangan
dan berbagai lembaga dalam perfilman kita layaknya
yang ada pada sebuah kegiatan industri. Jika pun ada, bisa
dibilang bahwa industri film Indonesia masih berupa industri
rumahan; sebuah industri berskala kecil ke menengah dan
dikerjakan tanpa hubungan kerja yang jelas.
Inilah sebuah tinjauan yang mencoba melongok lebih jauh
ke tiga subsektor dalam industri perfilman kita (jika ada) yaitu subsektor produksi, distribusi dan eksebisi. Tidak seluruh aspek memang dijelajahi mengingat luasnya subyek ini. Namun apa yang tergambar di buku ini bisa menjadi awal bagi sebuah tinjauah lebih dalam untuk memahami film, yang tak hanya merupakan barang hiburan, tapi juga merupakan barang publik yang bersentuhan dengan orang banyak lewat berbagai cara.
Diterbitkan oleh Penerbit: Perkumpulan Rumah Film Indonesia dan Yayasan TIFA, 2011
sudah ada. Belum ada infrastruktur, riset dan pengembangan
dan berbagai lembaga dalam perfilman kita layaknya
yang ada pada sebuah kegiatan industri. Jika pun ada, bisa
dibilang bahwa industri film Indonesia masih berupa industri
rumahan; sebuah industri berskala kecil ke menengah dan
dikerjakan tanpa hubungan kerja yang jelas.
Inilah sebuah tinjauan yang mencoba melongok lebih jauh
ke tiga subsektor dalam industri perfilman kita (jika ada) yaitu subsektor produksi, distribusi dan eksebisi. Tidak seluruh aspek memang dijelajahi mengingat luasnya subyek ini. Namun apa yang tergambar di buku ini bisa menjadi awal bagi sebuah tinjauah lebih dalam untuk memahami film, yang tak hanya merupakan barang hiburan, tapi juga merupakan barang publik yang bersentuhan dengan orang banyak lewat berbagai cara.
Diterbitkan oleh Penerbit: Perkumpulan Rumah Film Indonesia dan Yayasan TIFA, 2011
Research Interests:
How Eliana, Eliana and Rindu Kami pada-Mu), as case studies of post-Reform Indonesian films, represent social issues in Jakarta in a (neo)-realistic way? This thesis focuses on the representation of social issues in the city of Jakarta,... more
How Eliana, Eliana and Rindu Kami pada-Mu), as case studies of post-Reform Indonesian films, represent social issues in Jakarta in a (neo)-realistic way? This thesis focuses on the representation of social issues in the city of Jakarta, such as gender issues, poverty and the problems of urban life, as well as the physical landscape and mental landscape of Jakarta, and the connection between representation theory and realism approach in filmmaking.
Research Interests:
"Syari'ati tidak pernah menggagas pemikirannya tentang etika secara utuh dalam bentuk tulisan atau ceramah. Tetapi berbagai kritiknya terhadap filsafat Barat, termasuk etika, secara implisit mengandung pemikirannya tentang etika. Beberapa... more
"Syari'ati tidak pernah menggagas pemikirannya tentang etika secara utuh dalam bentuk tulisan atau ceramah. Tetapi berbagai kritiknya terhadap filsafat Barat, termasuk etika, secara implisit mengandung pemikirannya tentang etika. Beberapa pemikirannya, yang sebagian besar digunakan secara praksis untuk menggerakkan revolusi di Iran, juga mengandung sebuah implikasi tindakan etis tertentu. Pemikiran filosofisnya di bidang ontologi dan meteafisika sebenarnva juga mengandung ajarannya tentang etika. Bagaimana etika menurut Syari'ati? Bagi Syari'ati, manusia adalah makhluk dua dimensi, yaitu unsur Roh Tuhan dan Tanah Lumpur. Keduanya saling bertempur. Roh Tuhan ingin selalu menjadi insan (becoming) menuju Tuhan, yaitu ""berakhlak seperti Akhlak Tuhan"". Tetapi unsur`fanah Lumpur selalu menghalanginya. Pertempuran di dalam diri manusia ini selalu terjadi, dan jika Roh Tuhan menang, mala manusia menjadi ""manusia ideal"". Tanah Lumpur ini adalah penjara Ego, yaitu penjara psikologis yang menghalangi insan menuju Tuhan. Tuhan adalah tujuan akhir manuia, yang selalu berubah dan bergerak dinamis. Pada akhirnya, manusia tidak akan pernah menuju Tuhan, tetapi selalu menghampirinya. Proses terus menueru rnr menghasilkan tindakan moral (akhlak) yang menial tindakan moralk Tuhan. Intl dari etika Syari'ati adalah upaya humanisasi, yaitu menjadikan manusia menjadi ""manusia yang sesungguhnya"" (insan) Intl dari humanisasi ini adalah liberalisasi dan transendensi
Research Interests:
Historical approach on Indonesian film industry from 1926 to present.
Research Interests:
Video Presentation: https://kafein.or.id/en/history-panel/ Mainstream perspectives regarding gender issues, both in popular and scholarly works, underline that generally films in Indonesian New Order (1966-1998) apply State Ibusim... more
Video Presentation: https://kafein.or.id/en/history-panel/
Mainstream perspectives regarding gender issues, both in popular and scholarly works, underline that generally films in Indonesian New Order (1966-1998) apply State Ibusim theories. On and off-screen, women were marginalized and represented as weak, silent, negative, housewificationed, dan domestificationed. State Ibuism theory was coined by Julia Suryakusuma, formulated based from PKK program (Pembinaan Kesejahteraan Keluarga (Family Welfare Movement), “azas kekeluargaan” (Family Principle), amd and Dharma Wanita (official organization for the wives of civil servants), which were officially issued in 1978. The theory highlight the official attempt of domistification of Indonesian women during New Order era.
However, Lisa (M Syariefuddin A, 1971), produced 7 years before the programs, is anomalous one. I argue that the film can be read as the window opportunity for producing the progressive film culture. I will answer how different the film with State Ibuism theory by undertaking textual analysis or a close reading of the film. And I will answer why it is different by undertaking New Cinema History approach and highlighting the paradoxes of New Order’s policies.
Presented at “Women in Indonesian Film and Cinema” Conference, July-August 2020, An INTERNATIONAL VIRTUAL CONFERENCE, held by UNESCO, BPI, and Kafein.
Mainstream perspectives regarding gender issues, both in popular and scholarly works, underline that generally films in Indonesian New Order (1966-1998) apply State Ibusim theories. On and off-screen, women were marginalized and represented as weak, silent, negative, housewificationed, dan domestificationed. State Ibuism theory was coined by Julia Suryakusuma, formulated based from PKK program (Pembinaan Kesejahteraan Keluarga (Family Welfare Movement), “azas kekeluargaan” (Family Principle), amd and Dharma Wanita (official organization for the wives of civil servants), which were officially issued in 1978. The theory highlight the official attempt of domistification of Indonesian women during New Order era.
However, Lisa (M Syariefuddin A, 1971), produced 7 years before the programs, is anomalous one. I argue that the film can be read as the window opportunity for producing the progressive film culture. I will answer how different the film with State Ibuism theory by undertaking textual analysis or a close reading of the film. And I will answer why it is different by undertaking New Cinema History approach and highlighting the paradoxes of New Order’s policies.
Presented at “Women in Indonesian Film and Cinema” Conference, July-August 2020, An INTERNATIONAL VIRTUAL CONFERENCE, held by UNESCO, BPI, and Kafein.
Research Interests:
For years, textual analysis or ontological approaches is a common thing among scholars and critics in the context of Indonesian cinema studies. Currently, there is an emerging trend of research where more scholars apply... more
For years, textual analysis or ontological approaches is a common thing among scholars and critics in the context of Indonesian cinema studies. Currently, there is an emerging trend of research where more scholars apply phenomenological or sociological approaches to research Indonesian cinema. Within this approaches, extrinsic elements are investigated and archive-led research is inevitable. In my case, I analyzed many archives in order to argue that classic Indonesian exploitation films (originally produced and circulated between 1979 and 1995 under the dictatorship of New Order) are important and the films became both the significant arenas and the objects of politics of taste involving several agencies like the State and its cultural elites, local film producers, local film distributors/exhibitors, local audiences, transnational distributors, and global fans.
Therefore, my research is in line with “New Cinema History”, as Maltby puts it, “to consider their circulation and consumption, and to examine the cinema as a site of social and cultural exchange” (Maltby, 2011, 1). New Cinema History approaches undertake “empirical investigation and inquiry”, which is “analysis of primary sources relating to the production and reception of feature films” (Chapman, Glancy, Harper 2009, 1).
Within this spirit, the film historians basically undertake historical investigation by analyzing primary sources, both filmic (the film itself), and nonfilmic (such as trade papers, publicity materials, reviews, and fans texts) (Chapman, Glancy, Harper 2007, 3).
The paper will elaborate how and why I collected, selected, and analyzed original printed documents such as magazines, newspapers, official documents (for instance, ministerial and presidential decrees and film censorship policies), trade magazines (including in-house and internal magazines published by particular film organizations), and festival film catalogs and booklets. I will focus on 3 institutions, namely Sinematek Indonesia (Indonesia’s film archive), Perpustakaan Nasional Republik Indonesia (National Library of Indonesia) and Perpustakaan Umum Pemerintah Daerah Jakarta (Public Library of Jakarta Province).
‘Archives, Activism, Aesthetics in Southeast Asian Cinemas’ Symposium, Glasgow, 16-17 March 2018
Therefore, my research is in line with “New Cinema History”, as Maltby puts it, “to consider their circulation and consumption, and to examine the cinema as a site of social and cultural exchange” (Maltby, 2011, 1). New Cinema History approaches undertake “empirical investigation and inquiry”, which is “analysis of primary sources relating to the production and reception of feature films” (Chapman, Glancy, Harper 2009, 1).
Within this spirit, the film historians basically undertake historical investigation by analyzing primary sources, both filmic (the film itself), and nonfilmic (such as trade papers, publicity materials, reviews, and fans texts) (Chapman, Glancy, Harper 2007, 3).
The paper will elaborate how and why I collected, selected, and analyzed original printed documents such as magazines, newspapers, official documents (for instance, ministerial and presidential decrees and film censorship policies), trade magazines (including in-house and internal magazines published by particular film organizations), and festival film catalogs and booklets. I will focus on 3 institutions, namely Sinematek Indonesia (Indonesia’s film archive), Perpustakaan Nasional Republik Indonesia (National Library of Indonesia) and Perpustakaan Umum Pemerintah Daerah Jakarta (Public Library of Jakarta Province).
‘Archives, Activism, Aesthetics in Southeast Asian Cinemas’ Symposium, Glasgow, 16-17 March 2018
Research Interests:
As non-state agents, cultural elites along with the government played important roles in cultural history of Indonesia in New Order period (1966-1998). Krishna Sen overviews history of Indonesian Cinema in New Order in one sentence: “The... more
As non-state agents, cultural elites along with the government played important roles in cultural history of Indonesia in New Order period (1966-1998). Krishna Sen overviews history of Indonesian Cinema in New Order in one sentence: “The New Order inherited a cinema that expressed a highly individualist and elitist approach to society” (Sen 1994, 94). In the Indonesian context, culture elites are a group of prominent figures who share the same ideology and mostly belong to nationalist wing who try to play a role as, In Toynbee’s term,
a group of “creative minority”. Krishna Sen describes them as “the tiny urban, educated, national political elites, which since independence had been bound by personal ties that bridged ‘conflict of interest’ and ideology” (Sen 1994, 27). The phenomenon can be read in
articles written by most prominent film critics, journalists, historians, and academia such as Asrul Sani (poet, cultural thinker, prominent writer, award-winning scriptwriter, director), Rosihan Anwar (senior journalist), Sumardjono (filmmaker), Misbach Jusa Biran (film historian, founder of Sinematek Indonesia, filmmaker), and Salim Said (film scholar). They
also played roles in some film institutions and organizations, such as Festival Film Indonesia, censorship board, National Film Council (Dewan Film Nasional). They wanted to frame Indonesian film to fit in the concept of film nasional (national film), where the goals were to “search Indonesian faces on screen” (1978) and should be “with cultural and
educational purposes” (Film Kultural Edukatif, 1982-1983) (2010).
In this paper, I will elaborate why and how Indonesian cultural elites in New Order era have tried to exclude local exploitation films from the discourses of concept and official history of national cinema and national film cultures, and tried to negotiate with various kinds of politics of tastes.
By investigating archives such as film policies and media clippings, I will underline the taste battle between the government and cultural elites and other stakeholders, namely local film producers-distributors-exhibitors (including Layar Tancap/traveling cinema companies), and domestic mainstream audience, as well as international distributors.
a group of “creative minority”. Krishna Sen describes them as “the tiny urban, educated, national political elites, which since independence had been bound by personal ties that bridged ‘conflict of interest’ and ideology” (Sen 1994, 27). The phenomenon can be read in
articles written by most prominent film critics, journalists, historians, and academia such as Asrul Sani (poet, cultural thinker, prominent writer, award-winning scriptwriter, director), Rosihan Anwar (senior journalist), Sumardjono (filmmaker), Misbach Jusa Biran (film historian, founder of Sinematek Indonesia, filmmaker), and Salim Said (film scholar). They
also played roles in some film institutions and organizations, such as Festival Film Indonesia, censorship board, National Film Council (Dewan Film Nasional). They wanted to frame Indonesian film to fit in the concept of film nasional (national film), where the goals were to “search Indonesian faces on screen” (1978) and should be “with cultural and
educational purposes” (Film Kultural Edukatif, 1982-1983) (2010).
In this paper, I will elaborate why and how Indonesian cultural elites in New Order era have tried to exclude local exploitation films from the discourses of concept and official history of national cinema and national film cultures, and tried to negotiate with various kinds of politics of tastes.
By investigating archives such as film policies and media clippings, I will underline the taste battle between the government and cultural elites and other stakeholders, namely local film producers-distributors-exhibitors (including Layar Tancap/traveling cinema companies), and domestic mainstream audience, as well as international distributors.
Research Interests:
Indonesia‟s New Order Government (1966-1998) was notorious for its state-control of every aspect of life. In the film industry, the government applied sharp censorship and controlled film production by controlling scripts and film... more
Indonesia‟s New Order Government (1966-1998) was notorious for its state-control of every aspect of life. In the film industry, the government applied sharp censorship and controlled film production by controlling scripts and film bodies as well as distribution and exhibition. This paper explores how the New Order and its policies valued and dealt with the subcultures of Layar Tancap (open air cinema) and bioskop keliling (mobile cinema shows)? According to Katinka van Heeren, Layar Tancap shows were off of the New Order‟s radar until 1993, the year the government finally acknowledged and formalized Perfiki
(Persatuan Perusahaan Pertunjukan Film Keliling Indonesia, or the Union of Indonesian Mobile Cinema Show). Both van Heeren and Krishna Sen, have argued that while its spectatorship is important to note, no specific official policies were applied and no data was collected by The Indonesian Statistical Bureau for this open air cinema. In short, layar
tancap was overlooked by the New Order government because the spectators were from the lower and working classes. Drawing on the evidence of the New Order‟s film policies
as well as general and trade magazines, my research questions van Heeren‟s assertion. I will argue that Suharto‟s government tried to frame this kind of distribution and exhibition cultures long before 1993, precisely because the villagers were one of their important assets; they formed the large majority of Indonesian citizens. I will also discuss how the practice and consumption of layar tancap and the policies of New Order government interact, negotiate, and influence each other.
(Persatuan Perusahaan Pertunjukan Film Keliling Indonesia, or the Union of Indonesian Mobile Cinema Show). Both van Heeren and Krishna Sen, have argued that while its spectatorship is important to note, no specific official policies were applied and no data was collected by The Indonesian Statistical Bureau for this open air cinema. In short, layar
tancap was overlooked by the New Order government because the spectators were from the lower and working classes. Drawing on the evidence of the New Order‟s film policies
as well as general and trade magazines, my research questions van Heeren‟s assertion. I will argue that Suharto‟s government tried to frame this kind of distribution and exhibition cultures long before 1993, precisely because the villagers were one of their important assets; they formed the large majority of Indonesian citizens. I will also discuss how the practice and consumption of layar tancap and the policies of New Order government interact, negotiate, and influence each other.
Research Interests:
After passing through the strict censorship board and 9 days of theatrical release, Pembalasan Ratu Laut Selatan (Tjut Djalil, 1988) or Lady Terminator was withdrawn from national distribution due to concerns over its sexual and violence... more
After passing through the strict censorship board and 9 days of theatrical release, Pembalasan Ratu Laut Selatan (Tjut Djalil, 1988) or Lady Terminator was withdrawn from national distribution due to concerns over its sexual and violence scenes. Society blamed censorship board for being too soft, and there were suggestions of bribery. Threats were made to sue the board.
The situation above is unique given the New Order regime’s (1966-1998) notorious state control of every aspect of life, including sharp censorship and control of film organizations. The government also framed movies to “represent the true Indonesian cultures”, which meant excluding violence and erotic scenes from the screen. On the other hand, it was the public who took action in opposing the film.
The film caused moral panics within the society because it was considered a ‘threat to societal values and interests’ (Cohen, 1972, p.9) and challenged legitimate culture. By looking at the media reception in 1988, this paper will investigate the bigger context of Indonesia’s political and social situation regarding the withdrawal of the film and social anxiety surrounding it. In particular, I want to interrogate how various Politics of Tastes (government, culture elites, society, and film producers) were contradicted and negotiated through this case.
The situation above is unique given the New Order regime’s (1966-1998) notorious state control of every aspect of life, including sharp censorship and control of film organizations. The government also framed movies to “represent the true Indonesian cultures”, which meant excluding violence and erotic scenes from the screen. On the other hand, it was the public who took action in opposing the film.
The film caused moral panics within the society because it was considered a ‘threat to societal values and interests’ (Cohen, 1972, p.9) and challenged legitimate culture. By looking at the media reception in 1988, this paper will investigate the bigger context of Indonesia’s political and social situation regarding the withdrawal of the film and social anxiety surrounding it. In particular, I want to interrogate how various Politics of Tastes (government, culture elites, society, and film producers) were contradicted and negotiated through this case.
Research Interests:
For Indonesians, particularly for Generation of the 1980s, it is commonly known that Si Unyil , Indonesian TV puppet show series, is the most popular TV program in the 1980s (Kitley 153). Since 1 April 1981, every Sunday morning,... more
For Indonesians, particularly for Generation of the 1980s, it is commonly known that Si Unyil , Indonesian TV puppet show series, is the most popular TV program in the 1980s (Kitley 153). Since 1 April 1981, every Sunday morning, from 1981 to 1993, most of the children in Indonesia sit in their own houses, or in neighbors’ houses and district offices, to watch the show on TV, and later memorize the songs, imitate the dialogs, and discuss the stories. It became a weekly ritual for kids (Imanda 2004, 51).
The paper will interrogate why and how it has deep influence in pop culture. If the reason is its cult status that made the phenomenon, to what extent can we consider Si Unyil as a cult TV program, considering Indonesia in the 1980s and 2010s have different kind of dynamics and characteristics that may be different from Western cult media and may not be always compatible with mainstream Western cult theories ?
I will investigate the connection between the TV program with its cult status in relation with childhood nostalgia, collective memory shared within The 1980s generation, and fans productivities
The paper will interrogate why and how it has deep influence in pop culture. If the reason is its cult status that made the phenomenon, to what extent can we consider Si Unyil as a cult TV program, considering Indonesia in the 1980s and 2010s have different kind of dynamics and characteristics that may be different from Western cult media and may not be always compatible with mainstream Western cult theories ?
I will investigate the connection between the TV program with its cult status in relation with childhood nostalgia, collective memory shared within The 1980s generation, and fans productivities
Research Interests:
Indonesia’s New Order Government (1966-1998) is notorious with its state-control of every aspect of life. In the film industry, the government applied sharp censorship and controlled film production by controlling the script and film... more
Indonesia’s New Order Government (1966-1998) is notorious with its state-control of every aspect of life. In the film industry, the government applied sharp censorship and controlled film production by controlling the script and film bodies as well as distribution and exhibition. (Sen 1992; Heider 1991, Jufry 1992, Said 1991).
How did New Order and its policies value and deal with the subculture of Layar Tancap (open air cinema) or bioskop keliling (mobile cinema shows)? According to Katinka van Heeren, Layar Tancap shows were out of New Order’s radar until 1993 (van Heeren 2012, 33), the year the government finally acknowledged and formalized Perfiki (Persatuan Perusahaan Pertunjukan Film Keliling Indonesia, or the Union of Indonesian Mobile Cinema Show)
According to van Heeren and Krishna Sen, although its spectatorship is important to note, but no specific official policies was applied ; and no data was collected by The Indonesian Statistical Bureau, for this open air cinema (Sen 1994). The Indonesian Statistical Bureau (PBS, Pusat Biro Statistik) only covered numbers from ordinary cinemas in the big cities (Sen 1994, 72).
By observing New Order’s film policies as well as general and trade magazines, I will investigate van Heeren’s claims above. I will argue the opposite: Suharto’s government tried to frame this kind of distribution and exhibition cultures, long before 1993, precisely because the villagers were one of their important assets considering that they were the majority of Indonesian citizens. I will also focus on how the practice and consumption of Layar Tancap and policies of New Order government interact, negotiate, and influence each other.
How did New Order and its policies value and deal with the subculture of Layar Tancap (open air cinema) or bioskop keliling (mobile cinema shows)? According to Katinka van Heeren, Layar Tancap shows were out of New Order’s radar until 1993 (van Heeren 2012, 33), the year the government finally acknowledged and formalized Perfiki (Persatuan Perusahaan Pertunjukan Film Keliling Indonesia, or the Union of Indonesian Mobile Cinema Show)
According to van Heeren and Krishna Sen, although its spectatorship is important to note, but no specific official policies was applied ; and no data was collected by The Indonesian Statistical Bureau, for this open air cinema (Sen 1994). The Indonesian Statistical Bureau (PBS, Pusat Biro Statistik) only covered numbers from ordinary cinemas in the big cities (Sen 1994, 72).
By observing New Order’s film policies as well as general and trade magazines, I will investigate van Heeren’s claims above. I will argue the opposite: Suharto’s government tried to frame this kind of distribution and exhibition cultures, long before 1993, precisely because the villagers were one of their important assets considering that they were the majority of Indonesian citizens. I will also focus on how the practice and consumption of Layar Tancap and policies of New Order government interact, negotiate, and influence each other.
Research Interests:
Indonesia’s New Order regime (1966-1998) is notorious with its state-control of every aspect of life. In the film industry, the government applied sharp censorship and controlled all aspects of film production and film organizations to... more
Indonesia’s New Order regime (1966-1998) is notorious with its state-control of every aspect of life. In the film industry, the government applied sharp censorship and controlled all aspects of film production and film organizations to distribution and exhibition. (Sen 1992; Heider 1991, Jufri 1992, Said 1991). They framed the legitimate culture and set the concept of “Film Indonesia” with the idea of representation of the “true” Indonesian cultures (Barker 2010).
On the other hand, the production of B Movies mushroomed, mostly full of sadistic and sensual scenes (1979-1995); the 1980s is considered as “The Golden Era of Indonesian Exploitation Cinema”. Moreover, National Film Council founded Kelompok Kerja Tetap Promosi dan Pemasaran Film Indonesia di Luar Negeri, (Pokjatab Prosar) or The Permanent Working Committee for the Promotion and Marketing of Indonesia Films Abroad. This official body had succeeded in selling exploitation films at The Manila International Film Festival, Cannes, and American Film Market in 1982 (Jufri 1992, 98-99), and started up the phenomenon of Indonesian transnational exploitation films.
Why and how did New Order regime export the films they tried to avoid? Why did they apply paradoxical policies? How were the impacts towards transnational exploitation films?
Focusing on the early 1980s, particularly on exportation by Pokjatap Prosar, this paper will interrogate how series of political policies shaped the production and global distribution of transnational exploitation films. Applying Bourdeau’s Distinctions, I will investigate how various establishments of politics of tastes (undertaken by New Order officials and culture elites, transnational distributors, as well as local and foreign fans) interacted, contradicted, negotiated and influenced each other.
Short Bio:
Ekky Imanjaya is a PhD candidate from Film Studies, University of East Anglia, Norwich, UK. He is also a faculty member of Film School, BINUS INTERNATIONAL, Bina Nusantara University, Jakarta, Indonesia. Email: E.Imanjaya@uea.ac.uk
Citation:
1. “Doing the rounds in the festivals in 1982, they found out that what foreign buyers wanted were the sexy, violent exploiters that were being so strongly criticised back home. While the serious art films that were also part of the package may have been politely received, no one wanted to buy them (Tombs 1997, 68).
2. “Some films may seem normal to their home cultures, but become objects of curiosity once they leave that context. The reception of a film outside its initial cultural surrounding may easily evoke celebration, devotion or even hostility of a cultist kind (Mathijs & Mendik 2007, 8-9).
3. “Since the 1980s, the exploitation market has changed and become somewhat murkier. The traditional exhibition outlets, such as drive-ins and grindhouse theaters , began to disappear, which made it more difficult to get cheap films shown in cinemas. Video created a new market, yet while cheap exploitation filmmaking certainly existed to fill this market, straight-to-video titles rarely become cult hits. This is perhaps because such films tend to slip beneath the net of many people’s radar. Nevertheless, there is a small, yet growing, trend for people to laud straight-to-video, trashy films on the net…” (Mathijs and Sexton 2011, 52)
4. “The theme of searching for the Indonesian face in Indonesian films this year is the manifestation of a desire which is as vague as the film industry in this country trying to find and formulate its own identity. And the formulation of that face is as difficult as the formulation of a personality and identity of Indonesia” (Dissenting opinion by one of Indonesian Film Festival juries, D.A. Peransi, Kompas, 1977).
5. Film critics dan scholars, until recently still on the continuous debate on searching the real face of Indonesia (or any other Indonesian-ness) in Indonesian cinema. (Sen 1994, 105)
6. “In the short term (five years) the basis must be laid for both growth and structural reform in the film industry so as to ensure that Indonesian-made films are able to become truly “national” in character…and are of a standard commensurate with national goal…. (I) n the longer term it is hoped that national film will experience self propelling growth. Support for the development of national film must be on going and continual” (“1989 Basic Guidelines for the Promotion and Development of National Film”, Department of Information of Repubic of Indonesia, Jufri 1992, 15-16, my emphasis).
7. “It is to be hoped that every national film production is able to paint a true picture of the society and culture of its people by presenting beauty of esthetics which are brought together by and originate in the values of the social ethic of the people and their environment….It is hoped that every film is not only created and treated as a commercial commodity, and it is suggested that, at least, it should contain socio-cultural values which reflect the personality and the character of nation making it. Therefore, it is reasonable to expect that the artistic values illustrated in Indonesian films present the image and the culture of the Indonesian people or at the very least, that they will not conflict with cultural values and the policies of the Government in the development of a national culture (Narto Erawan/Director for Guidance in Film and Video Recording of the Departement of Information and Scretary General of the National Film Board in Jufri 1992, 71-72).
8. “The boundaries of “good taste,” then, must be constantly be policed; proper tastes must be separated from improper tastes; those who possess the wrong tastes must be distinguished from those whose tastes conform more closely to our own expectations (Henry Jenkins, in Mathijs and Mendik, 2007, 432)
9. “Taste classifies, and it classifies the classifier. Social subjects, classified by their classifications, distinguish themselves by the distinctions they make, between the beautiful and the ugly, the distinguished and the vulgar, in which, their position in the objective classification is expressed or betrayed” (Bourdeau, 2010, p XXIX)
10. “Whereas the ideology of charisma regards taste in legitimate culture as a gift of nature, scientific observation shows that cultural needs are the product of upbringing and education…” (Bourdieu 2010, xxiv).
Works cited:
Bourdieu, Pierre. Distinction : a social critique of the judgement of taste. London ; New York : Routledge 2010
Jufri, Moch et al (Ed). Indonesian Film Panorama. Jakarta: Permanent Committee of the Indonesian Film Festival, 1992.
Mathijs, Ernest and Xavier Mendik. The Cult Film Reader. Maidenhead: Open University Press, 2007.
Mathijs, Ernest and Jamie Sexton. Cult Cinema: an Introduction. Oxford : Wiley-Blackwell 2011
Nagheti, Alireza. “Bootlegging in the Music Industry: A Note “ in European Journal of Law and Economics, 12:1; 57_72, 2001
Sen, Krishna. Indonesian Cinema, Framing the New Order. London & New Jersey: Zed Books Ltd, 1994.
Telotte, JP (Ed). The Cult Film Experience, Beyond All Reason. Austin: University of Texass Press 1991.
Tombs, Pete. Mondomacabro: Weird and Wonderful Cinema around the World. London: Titan Books, 1997.
On the other hand, the production of B Movies mushroomed, mostly full of sadistic and sensual scenes (1979-1995); the 1980s is considered as “The Golden Era of Indonesian Exploitation Cinema”. Moreover, National Film Council founded Kelompok Kerja Tetap Promosi dan Pemasaran Film Indonesia di Luar Negeri, (Pokjatab Prosar) or The Permanent Working Committee for the Promotion and Marketing of Indonesia Films Abroad. This official body had succeeded in selling exploitation films at The Manila International Film Festival, Cannes, and American Film Market in 1982 (Jufri 1992, 98-99), and started up the phenomenon of Indonesian transnational exploitation films.
Why and how did New Order regime export the films they tried to avoid? Why did they apply paradoxical policies? How were the impacts towards transnational exploitation films?
Focusing on the early 1980s, particularly on exportation by Pokjatap Prosar, this paper will interrogate how series of political policies shaped the production and global distribution of transnational exploitation films. Applying Bourdeau’s Distinctions, I will investigate how various establishments of politics of tastes (undertaken by New Order officials and culture elites, transnational distributors, as well as local and foreign fans) interacted, contradicted, negotiated and influenced each other.
Short Bio:
Ekky Imanjaya is a PhD candidate from Film Studies, University of East Anglia, Norwich, UK. He is also a faculty member of Film School, BINUS INTERNATIONAL, Bina Nusantara University, Jakarta, Indonesia. Email: E.Imanjaya@uea.ac.uk
Citation:
1. “Doing the rounds in the festivals in 1982, they found out that what foreign buyers wanted were the sexy, violent exploiters that were being so strongly criticised back home. While the serious art films that were also part of the package may have been politely received, no one wanted to buy them (Tombs 1997, 68).
2. “Some films may seem normal to their home cultures, but become objects of curiosity once they leave that context. The reception of a film outside its initial cultural surrounding may easily evoke celebration, devotion or even hostility of a cultist kind (Mathijs & Mendik 2007, 8-9).
3. “Since the 1980s, the exploitation market has changed and become somewhat murkier. The traditional exhibition outlets, such as drive-ins and grindhouse theaters , began to disappear, which made it more difficult to get cheap films shown in cinemas. Video created a new market, yet while cheap exploitation filmmaking certainly existed to fill this market, straight-to-video titles rarely become cult hits. This is perhaps because such films tend to slip beneath the net of many people’s radar. Nevertheless, there is a small, yet growing, trend for people to laud straight-to-video, trashy films on the net…” (Mathijs and Sexton 2011, 52)
4. “The theme of searching for the Indonesian face in Indonesian films this year is the manifestation of a desire which is as vague as the film industry in this country trying to find and formulate its own identity. And the formulation of that face is as difficult as the formulation of a personality and identity of Indonesia” (Dissenting opinion by one of Indonesian Film Festival juries, D.A. Peransi, Kompas, 1977).
5. Film critics dan scholars, until recently still on the continuous debate on searching the real face of Indonesia (or any other Indonesian-ness) in Indonesian cinema. (Sen 1994, 105)
6. “In the short term (five years) the basis must be laid for both growth and structural reform in the film industry so as to ensure that Indonesian-made films are able to become truly “national” in character…and are of a standard commensurate with national goal…. (I) n the longer term it is hoped that national film will experience self propelling growth. Support for the development of national film must be on going and continual” (“1989 Basic Guidelines for the Promotion and Development of National Film”, Department of Information of Repubic of Indonesia, Jufri 1992, 15-16, my emphasis).
7. “It is to be hoped that every national film production is able to paint a true picture of the society and culture of its people by presenting beauty of esthetics which are brought together by and originate in the values of the social ethic of the people and their environment….It is hoped that every film is not only created and treated as a commercial commodity, and it is suggested that, at least, it should contain socio-cultural values which reflect the personality and the character of nation making it. Therefore, it is reasonable to expect that the artistic values illustrated in Indonesian films present the image and the culture of the Indonesian people or at the very least, that they will not conflict with cultural values and the policies of the Government in the development of a national culture (Narto Erawan/Director for Guidance in Film and Video Recording of the Departement of Information and Scretary General of the National Film Board in Jufri 1992, 71-72).
8. “The boundaries of “good taste,” then, must be constantly be policed; proper tastes must be separated from improper tastes; those who possess the wrong tastes must be distinguished from those whose tastes conform more closely to our own expectations (Henry Jenkins, in Mathijs and Mendik, 2007, 432)
9. “Taste classifies, and it classifies the classifier. Social subjects, classified by their classifications, distinguish themselves by the distinctions they make, between the beautiful and the ugly, the distinguished and the vulgar, in which, their position in the objective classification is expressed or betrayed” (Bourdeau, 2010, p XXIX)
10. “Whereas the ideology of charisma regards taste in legitimate culture as a gift of nature, scientific observation shows that cultural needs are the product of upbringing and education…” (Bourdieu 2010, xxiv).
Works cited:
Bourdieu, Pierre. Distinction : a social critique of the judgement of taste. London ; New York : Routledge 2010
Jufri, Moch et al (Ed). Indonesian Film Panorama. Jakarta: Permanent Committee of the Indonesian Film Festival, 1992.
Mathijs, Ernest and Xavier Mendik. The Cult Film Reader. Maidenhead: Open University Press, 2007.
Mathijs, Ernest and Jamie Sexton. Cult Cinema: an Introduction. Oxford : Wiley-Blackwell 2011
Nagheti, Alireza. “Bootlegging in the Music Industry: A Note “ in European Journal of Law and Economics, 12:1; 57_72, 2001
Sen, Krishna. Indonesian Cinema, Framing the New Order. London & New Jersey: Zed Books Ltd, 1994.
Telotte, JP (Ed). The Cult Film Experience, Beyond All Reason. Austin: University of Texass Press 1991.
Tombs, Pete. Mondomacabro: Weird and Wonderful Cinema around the World. London: Titan Books, 1997.
Research Interests: Film Studies, Indonesian Studies, Exploitation Cinema, Indonesian Cinema, Global Cinemas, and 7 moreFilm Distribution, Transnational Cinema, Politics of Taste, Film Distribution and Exhibition Cultures, Film Circulation & Viewership, Film Distribution and Exploitation, and Cult, Exploitation, and Horror Cinema With a Global Emphasis
After passed strict censorship board, Pembalasan Ratu Laut Selatan (Tjut Djalil, 1988, Indonesia) or Lady Terminator was withdrawn from national distribution in 1988 due to violence and, mainly, sexual scenes after 9 days on theatrical... more
After passed strict censorship board, Pembalasan Ratu Laut Selatan (Tjut Djalil, 1988, Indonesia) or Lady Terminator was withdrawn from national distribution in 1988 due to violence and, mainly, sexual scenes after 9 days on theatrical release in Indonesia. Society, particularly public figures—from senators and journalists to religious leaders---blamed censorship board for being softened, some suspected that they might be bribed, for releasing the films. Some people even planned to sue the board. Tempo Magazine, the biggest magazine,even picked up this issue as their headline, with the tagline “Astaghfirullah Film Indonesia” (Oh My God, Indonesian Movies!). The situation above is unique because it is notoriously known that Indonesia’s New Order (1966-1998) undertook state control on every aspect of life, including sharp censorship and controlling film organizations. The government also framed movies to “search for the real Indonesian faces on screen” and “represent the true Indonesian culture”, which means excluding violence and erotic scenes from the screen. On the other hand, in this case, the film already passed the official censorship board, but was opposed by public and subsequently got withdrawn.
I assume that the film caused moral panics within the society because it was considered as a ‘threat to societal values and interests’ (Cohen, 1972, p.9) and challenged legitimate culture. Bylooking at the media reception in 1988, this paper will investigate the bigger context of Indonesia’s political and social situation regarding the withdrawn of the film and social anxiety surrounding it. Particularly, I want to interrogate how various Politics of Tastes (government, culture elites, mainstream society, and film producers) interacted, contradicted, and negotiated within this case.
I assume that the film caused moral panics within the society because it was considered as a ‘threat to societal values and interests’ (Cohen, 1972, p.9) and challenged legitimate culture. Bylooking at the media reception in 1988, this paper will investigate the bigger context of Indonesia’s political and social situation regarding the withdrawn of the film and social anxiety surrounding it. Particularly, I want to interrogate how various Politics of Tastes (government, culture elites, mainstream society, and film producers) interacted, contradicted, and negotiated within this case.
Research Interests: Censorship, Film Studies, Indonesian History, Indonesian Studies, Moral Panic, and 12 moreExploitation Cinema, Indonesian Cinema, Censorship (History), Film Censorship, Morality and Moral Panics, Cult Cinema, Moral panics and the media, Moral Panics, Media Reception Studies, Film Reception, Moral Panics; Moral Regulation and Media; Globalization and Religion, and Consumption of Film
During New Order era (1966-1998), rural and suburban societies were always considered as second class citizens. Related to spectatorship, those villagers got “second class” entertainment. They did not enjoy new films in a decent permanent... more
During New Order era (1966-1998), rural and suburban societies were always considered as second class citizens. Related to spectatorship, those villagers got “second class” entertainment. They did not enjoy new films in a decent permanent movie theater, or immediately once the films were released. They watched the films in Layar Tancap, or mobile cinema.
Although New Order regime applied state-control to every aspect of life, including in film industry—from sharp censorship to supervising film-related organizations—but Layar Tancap theaters were out of radar until 1993 (van Heeren 2012). No specific government policies, including from censorship board and The Indonesian Statistical Bureau, has applied for this open air cinema (Sen 1994). Until recently, Layar Tancap shows commonly operate in rural and suburban areas, and the audiences come from lower-class. Therefore, while other forms of social activities were being controlled, Layar Tancap shows have developed their own dynamics: screenings of uncensored films, and “immoral” behaviours such as drunkenness, gambling and other criminal acts. There, second class citizens, namely villagers and working/lower class--celebrated exploitation and B-grade movies—kind of films that were overlooked by film critics and marginalized by government and culture elites. On the other hand, government also used Layar Tancap as propaganda means.
In this paper, I will discuss about phenomenon of layar tancap and Misbar (seasonal cinema) as counterculture of official and legitimate culture; particularly on rural audiences as its subculture. By observing New Order’s film policies as well as general and trade magazines, I will investigate why and how this kind of cinema were out of New Order radar, how Layar Tancap operated as displays of classic Indonesian B-films, and how they generated unique subculture of rural spectatorship.
Although New Order regime applied state-control to every aspect of life, including in film industry—from sharp censorship to supervising film-related organizations—but Layar Tancap theaters were out of radar until 1993 (van Heeren 2012). No specific government policies, including from censorship board and The Indonesian Statistical Bureau, has applied for this open air cinema (Sen 1994). Until recently, Layar Tancap shows commonly operate in rural and suburban areas, and the audiences come from lower-class. Therefore, while other forms of social activities were being controlled, Layar Tancap shows have developed their own dynamics: screenings of uncensored films, and “immoral” behaviours such as drunkenness, gambling and other criminal acts. There, second class citizens, namely villagers and working/lower class--celebrated exploitation and B-grade movies—kind of films that were overlooked by film critics and marginalized by government and culture elites. On the other hand, government also used Layar Tancap as propaganda means.
In this paper, I will discuss about phenomenon of layar tancap and Misbar (seasonal cinema) as counterculture of official and legitimate culture; particularly on rural audiences as its subculture. By observing New Order’s film policies as well as general and trade magazines, I will investigate why and how this kind of cinema were out of New Order radar, how Layar Tancap operated as displays of classic Indonesian B-films, and how they generated unique subculture of rural spectatorship.
Research Interests: Film Studies, Subcultures, Audience and Reception Studies, Exploitation Cinema, Indonesian Cinema, and 7 moreFilm and Media Studies, Politics of Taste, Film Culture, Film Distribution and Exhibition Cultures, Mobile Cinema, Media and Film Studies, and Cult, Exploitation, and Horror Cinema With a Global Emphasis
In Indonesia, popular Indonesian films, especially exploitation movies produced in Indonesia’s New Order era, are overlooked and underrated by most of film critics, film journalists, and film scholars. This era has become notorious in... more
In Indonesia, popular Indonesian films, especially exploitation movies produced in Indonesia’s New Order era, are overlooked and underrated by most of film critics, film journalists, and film scholars. This era has become notorious in its enacting of a state-controlled totalitarian system of government which dominated every aspect of life under the guise of security, development, and stability. In the film industry, the government applied sharp censorship and controlling all aspects of film production and film organizations to distribution and exhibition.
However, despite the ideological framing and state control undertaken by New Order regime, the production of low-budget B Movies persisted and mushroomed particularly from late 1970s to early 1990s, and is considered as “The Golden Era of Indonesian Exploitation Cinema” by some global fans and scholars. Apparently, The New Order had several policies designated to rehabilitate the development of the film industry and support the import of foreign films. Ministerial decrees were enacted to improve film development with a focus upon a “quantity approach” or “audience approach,”.
This paper will look at how exploitation movies were understood and produced during the New Order era by interrogating how series of political policies shaped the production, (and, later, the consumption) of exploitation films, the kind of films that they were actually trying to avoid. And lastly, I want to investigate why and how the films were produced for political reasons from series of political contradictions.
However, despite the ideological framing and state control undertaken by New Order regime, the production of low-budget B Movies persisted and mushroomed particularly from late 1970s to early 1990s, and is considered as “The Golden Era of Indonesian Exploitation Cinema” by some global fans and scholars. Apparently, The New Order had several policies designated to rehabilitate the development of the film industry and support the import of foreign films. Ministerial decrees were enacted to improve film development with a focus upon a “quantity approach” or “audience approach,”.
This paper will look at how exploitation movies were understood and produced during the New Order era by interrogating how series of political policies shaped the production, (and, later, the consumption) of exploitation films, the kind of films that they were actually trying to avoid. And lastly, I want to investigate why and how the films were produced for political reasons from series of political contradictions.
Research Interests:
Most of Indonesian films recirculated in 2000s international DVD circuits are those 1970s-1990s exploitation Movies. Indonesia’s underrated Filmmakers such as Arizal and Tjut Tjalil as well as actors such as Barry Prima and Eva Arnaz... more
Most of Indonesian films recirculated in 2000s international DVD circuits are those 1970s-1990s exploitation Movies. Indonesia’s underrated Filmmakers such as Arizal and Tjut Tjalil as well as actors such as Barry Prima and Eva Arnaz are among those who are celebrated by global cult fans. Films like Lady Terminator (Pembalasan Ratu Laut Selatan), or The Warrior (Jaka Sembung) series are discussed among cult film fans forums and blogs, but are neglected, abandoned, and underrated in Indonesia. All the films were originally produced, distributed, and exhibited in Indonesia during the last 20 years of New Order era by dictatorship of Suharto. A Greek fan calls it s “Crazy Indonesia”. Some DVD distributors--MondomacabroDVD, Troma Team, and VideoAsia—label the movies as cult films.
The paper will analyse online fan cultures of Western audiences towards the movies. I want to elaborate their ideology of subculture: on why and how they celebrate the films. I argue that there are 2 types of films, that feed Western fans’ tastes: first, “Indigenous” genre (in Karl Heider’s term) such Legenda (legend, myth, supernatural), Kumpeni (local <super> heroes in Dutch colonial era), and Silat (martial art) (Heider 1991) which are considered as exotic, marginalized, peculiar and unknown to Western cult community; second, Americanized Exploitation (sub)genres (cannibalism, women in prison, mockbuster, etc.) which perfectly fit their expectations.
Applying Kozinets’ Netnography, I will examine some fans’ blogs, reviews, discussions at online forums, and transactions as well as offline events (screenings, meetings). I will have discourse analysis on the computer mediated communication produced by the fans, particularly activities at AV Maniac, Backyard-Asia, enlejemordersertilbage.blogspot.com, damnthatojeda.wordpress.com, Die Danger Die Die Kill, and THE_CINEHOUND_FORUM.
The paper will analyse online fan cultures of Western audiences towards the movies. I want to elaborate their ideology of subculture: on why and how they celebrate the films. I argue that there are 2 types of films, that feed Western fans’ tastes: first, “Indigenous” genre (in Karl Heider’s term) such Legenda (legend, myth, supernatural), Kumpeni (local <super> heroes in Dutch colonial era), and Silat (martial art) (Heider 1991) which are considered as exotic, marginalized, peculiar and unknown to Western cult community; second, Americanized Exploitation (sub)genres (cannibalism, women in prison, mockbuster, etc.) which perfectly fit their expectations.
Applying Kozinets’ Netnography, I will examine some fans’ blogs, reviews, discussions at online forums, and transactions as well as offline events (screenings, meetings). I will have discourse analysis on the computer mediated communication produced by the fans, particularly activities at AV Maniac, Backyard-Asia, enlejemordersertilbage.blogspot.com, damnthatojeda.wordpress.com, Die Danger Die Die Kill, and THE_CINEHOUND_FORUM.
Research Interests:
In 2000s, some international distributors recirculate 1970s-1990s Indonesian exploitation movies. The films are framed by the distributors as “cult films”, and have global cult followers. A fan calls them: “Crazy Indonesia”. Considered... more
In 2000s, some international distributors recirculate 1970s-1990s Indonesian exploitation movies. The films are framed by the distributors as “cult films”, and have global cult followers. A fan calls them: “Crazy Indonesia”. Considered as bad, undervalued, and far from becoming a representation of national identity in Indonesia; the films are celebrated by non-Indonesian fans because of their otherness, weirdness, and exoticism.
Those “Crazy Indonesia” films represents the same texts, but with two very different contexts and tastes. This paper will examine two aspects related to the term “Crazy Indonesia”. First, from the perspectives of the politics of Taste in the (1980s) Indonesia which were framed by, as Barker and Setijadi-Dunn put it, The Projects of Nationalism, which is searching for “Indonesian Faces” on screen—hence, only consider films with idealistic topics, and art-house/realism approach as “Indonesian Films”. Those kinds of frame exclude most of fantasy and B-grade movies.
Second, the paper will analyse the films according to the global cult fans, specifically focusing on their blogs and forums. I argue that there are two types of the films: the “indigenous” genres (Karl Heider’s term) such as Legend, Silat (martial art) , and Kumpeni (Dutch colonial era); and Americanized Exploitation subgenres.
Those “Crazy Indonesia” films represents the same texts, but with two very different contexts and tastes. This paper will examine two aspects related to the term “Crazy Indonesia”. First, from the perspectives of the politics of Taste in the (1980s) Indonesia which were framed by, as Barker and Setijadi-Dunn put it, The Projects of Nationalism, which is searching for “Indonesian Faces” on screen—hence, only consider films with idealistic topics, and art-house/realism approach as “Indonesian Films”. Those kinds of frame exclude most of fantasy and B-grade movies.
Second, the paper will analyse the films according to the global cult fans, specifically focusing on their blogs and forums. I argue that there are two types of the films: the “indigenous” genres (Karl Heider’s term) such as Legend, Silat (martial art) , and Kumpeni (Dutch colonial era); and Americanized Exploitation subgenres.
Research Interests:
In late 1990s, Troma Team, a New York based film production and distribution, recirculated four Indonesian Films, namely The Intruder (Pembalasan Rambu/ Rambu’s Revenge, 1985), Stabilizer (Segitiga Emas/Golden tringle, 1986), Ferocious... more
In late 1990s, Troma Team, a New York based film production and distribution, recirculated four Indonesian Films, namely The Intruder (Pembalasan Rambu/ Rambu’s Revenge, 1985), Stabilizer (Segitiga Emas/Golden tringle, 1986), Ferocious Female Freedom Fighters 1 (Perempuan Bergairah/FFFF/Passionate Woman, 1982) and Ferocious Female Freedom Fighters 2 (Membakar Matahari/To Burn the Sun, 1981). In late 1990s, the films are rereleased in DVD format.
Unlike most other titles produced and distributed by Troma, the first FFFF has special treatment: Troma Team decided to rework the film by rewritten and rerecorded the dialog in order to make it more into a “Troma film”. They call it “Tromatized”. In result, influenced by Woody Allen’s What’s Up Tiger Lily, the film has totally different story and taste.
The paper will examine how and why Troma Team redubbed the film and, in doing so, will elaborate the definition of “Troma film” and “tromatized”. Focusing on Ferocious Female Freedom Fighters, I will elaborate the strategy of Troma team to frame and as the same time feed their hard cult fans’ taste by doing the redubbing. In order to do so, I will also analyse the use of dubbing as a means to market the films by applying theories by Frederic Chaume Varela (polysystemic approaches) and Markus Nornes (corrupt and abusive subtitling theories)
Unlike most other titles produced and distributed by Troma, the first FFFF has special treatment: Troma Team decided to rework the film by rewritten and rerecorded the dialog in order to make it more into a “Troma film”. They call it “Tromatized”. In result, influenced by Woody Allen’s What’s Up Tiger Lily, the film has totally different story and taste.
The paper will examine how and why Troma Team redubbed the film and, in doing so, will elaborate the definition of “Troma film” and “tromatized”. Focusing on Ferocious Female Freedom Fighters, I will elaborate the strategy of Troma team to frame and as the same time feed their hard cult fans’ taste by doing the redubbing. In order to do so, I will also analyse the use of dubbing as a means to market the films by applying theories by Frederic Chaume Varela (polysystemic approaches) and Markus Nornes (corrupt and abusive subtitling theories)
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Layar Tancap (mobile cinema), cheap VCDs, and international distributors are 3 alternative ways to film archives as well as the open access for public in Indonesia., especially for 1980s Indonesian Exploitation Cinema
Research Interests:
'Marlina: women and gender issues in Indonesia' Film Screening of "Marlina the Murderer in Four Acts" with Introduction and Q&A Rating: 15+ Watershed, Bristol, Tuesday, 24 April 2016, 18.00 With: Hana A Satriyo (expert on Gender... more
'Marlina: women and gender issues in Indonesia'
Film Screening of "Marlina the Murderer in Four Acts" with Introduction and Q&A
Rating: 15+
Watershed, Bristol, Tuesday, 24 April 2016, 18.00
With: Hana A Satriyo (expert on Gender and Women’s participation)
Ekky Imanjaya (PhD candidate in Film Studies at University of East Anglia/Lecturer at Bina Nusantara University).
Considered one of the most significant films to emerge from Indonesia in recent years, female director Mouly Surya '"Marlina the Murderer in Four Acts" deals with multiple layers of gender and women issues within the country, through the vehicle of, as critic Maggie Lee puts it, “female-driven journey of vengeance and justice” which tells a story about “… a revenge fantasy rooted in Indonesia’s gender conditions, complex regional culture and the stark beauty of its landscapes” (Variety, 26/5 2017).
Labelled as pioneering a new genre called “Satay Western”, the film was selected and screened at 2017 Cannes Film Festival’s Director Fortnight. It traveled around many film festivals all over the world and got some prestigious awards such as Best actress ( Sitges International Fantastic Film Festival), Best Director (Netpac Award, Five Flavours Film Festival), Grand Prize (Tokyo FILMeX2017), Special Mention (Jogja-NETPAC Asian Film Festival 2017), and Best scenario ( Festival International du Film de Femmes de Salé).
To celebrate both the film's theatrical release in the UK and Kartini Day (21st April is the anniversary of the birth of Raden Ajeng Kartini, one of Indonesian's first feminists), the Watershed has organized a discussion event on contemporary women and gender issues within Indonesian and Southeast Asian national contexts. Hana A Satriyo and Ekky Imanjaya will give the introduction and hold a Q&A session covering a range of women and gender issues, ranging from the patriarchal cultures in general to the roles of women in Indonesian film industry.
All are welcome.
Buy the tickets here (Tue, 24/4, 6pm): https://uk.patronbase.com/_Watershed/Seats/NumSeats?prod_id=12BL&perf_id=5§ion_id=M&action=&seat_type_id=STAN&_ga=2.72610643.1375548281.1522857159-1317473638.1522857159
More details about the screenings of "Marlina" in Watershed
https://www.watershed.co.uk/whatson/8866/marlina-the-murderer-in-four-acts/
Co-organized by Ekky Imanjaya & Toby Reynolds
Film Screening of "Marlina the Murderer in Four Acts" with Introduction and Q&A
Rating: 15+
Watershed, Bristol, Tuesday, 24 April 2016, 18.00
With: Hana A Satriyo (expert on Gender and Women’s participation)
Ekky Imanjaya (PhD candidate in Film Studies at University of East Anglia/Lecturer at Bina Nusantara University).
Considered one of the most significant films to emerge from Indonesia in recent years, female director Mouly Surya '"Marlina the Murderer in Four Acts" deals with multiple layers of gender and women issues within the country, through the vehicle of, as critic Maggie Lee puts it, “female-driven journey of vengeance and justice” which tells a story about “… a revenge fantasy rooted in Indonesia’s gender conditions, complex regional culture and the stark beauty of its landscapes” (Variety, 26/5 2017).
Labelled as pioneering a new genre called “Satay Western”, the film was selected and screened at 2017 Cannes Film Festival’s Director Fortnight. It traveled around many film festivals all over the world and got some prestigious awards such as Best actress ( Sitges International Fantastic Film Festival), Best Director (Netpac Award, Five Flavours Film Festival), Grand Prize (Tokyo FILMeX2017), Special Mention (Jogja-NETPAC Asian Film Festival 2017), and Best scenario ( Festival International du Film de Femmes de Salé).
To celebrate both the film's theatrical release in the UK and Kartini Day (21st April is the anniversary of the birth of Raden Ajeng Kartini, one of Indonesian's first feminists), the Watershed has organized a discussion event on contemporary women and gender issues within Indonesian and Southeast Asian national contexts. Hana A Satriyo and Ekky Imanjaya will give the introduction and hold a Q&A session covering a range of women and gender issues, ranging from the patriarchal cultures in general to the roles of women in Indonesian film industry.
All are welcome.
Buy the tickets here (Tue, 24/4, 6pm): https://uk.patronbase.com/_Watershed/Seats/NumSeats?prod_id=12BL&perf_id=5§ion_id=M&action=&seat_type_id=STAN&_ga=2.72610643.1375548281.1522857159-1317473638.1522857159
More details about the screenings of "Marlina" in Watershed
https://www.watershed.co.uk/whatson/8866/marlina-the-murderer-in-four-acts/
Co-organized by Ekky Imanjaya & Toby Reynolds
Research Interests:
Kamis, 27 Agustus, London School of PR, Sudirman Park Office, Jl. K. H Mas Mansyur kav.35. Campus C LSPR. 2-4pm
Research Interests: Film Studies, Indonesian Studies, Exploitation Cinema, Indonesian Cinema, Spectatorship, and 6 moreSoutheast Asian Cinema, Film Exhibition, Media and Cultural Studies / Cultural Theory / Representation of the Political Violence / Political pilgrimage and Political Pilgrimage Cinema / Propaganda and Violence / Visual Anthropology / Cuban Culture., Film Distribution and Exhibition Cultures, Mobile Cinema, and B Movies
Politics and Culture in Indonesia Working Group and the Department of Anthropology at Harvard present: “Crazy Indonesia”: Politics of Tastes and Niche Criticism of Classic Indonesian Exploitation Cinema a talk by Ekky Imanjaya (Film... more
Politics and Culture in Indonesia Working Group and the Department of Anthropology at Harvard present:
“Crazy Indonesia”: Politics of Tastes and Niche Criticism of Classic Indonesian Exploitation Cinema
a talk by Ekky Imanjaya (Film critic and a PhD candidate at Art, Media, and American Studies, University of East Anglia, the United Kingdom)
Monday, March 30, 2015
2.30 -4pm, Bowditch Room, Peabody Museum
the Department of Anthropology, Harvard University
Both the Indonesian government and cultural elites during New Order era (1966-1998) define Indonesian cinema as those films with "cultural and educational purposes" (Film Kultural Edukatif) or films, which attempts to “present” Indonesian faces on screen. Interestingly, most Indonesian films that are re-circulated in the 2000s international DVD circuits are those of 1970s-1990s exploitation movies. They were originally produced, distributed, exhibited, and exported in Indonesia during the period of Suharto’s dictatorship.
Labelled and distributed by DVD distributors–MondomacabroDVD, Troma Team, and VideoAsia—as cult films, films like Lady Terminator or The Warrior (Jaka Sembung) series are discussed among cult film fans in online forums and blogs. Indonesia’s underrated filmmakers, such as Arizal and Tjut Tjalil as well as popular actors, such as Barry Prima and Eva Arnaz also make a comeback and become those who are celebrated by global cult fans, despite their overlooked status in Indonesia’s legitimate culture contexts. Focusing on fans reviews and critical conversations about the films, Ekky Imanjaya will investigate how global fans critically perceive and respond to these films. How do global fans define and formulate the term “Crazy Indonesia” and the Indonesia-ness of the films?
Ekky Imanjaya is a PhD candidate at Art, Media, and American Studies, University of East Anglia. He is also faculty member at Film Department, BINUS INTERNATIONAL, Bina Nusantara University, Jakarta. He has published articles in journals, including Jump Cut, Asian Cinema, Cinematheque Quarterly, Wacana, and Cinemaya. He has recently guest edited a special issue entitled “The Bad, The Worse, and The Worst: The Significance of Indonesian Cult, Exploitation, and B Movies” for Plaridel : A Philippine Journal of Communication, Media, and Society.
“Crazy Indonesia”: Politics of Tastes and Niche Criticism of Classic Indonesian Exploitation Cinema
a talk by Ekky Imanjaya (Film critic and a PhD candidate at Art, Media, and American Studies, University of East Anglia, the United Kingdom)
Monday, March 30, 2015
2.30 -4pm, Bowditch Room, Peabody Museum
the Department of Anthropology, Harvard University
Both the Indonesian government and cultural elites during New Order era (1966-1998) define Indonesian cinema as those films with "cultural and educational purposes" (Film Kultural Edukatif) or films, which attempts to “present” Indonesian faces on screen. Interestingly, most Indonesian films that are re-circulated in the 2000s international DVD circuits are those of 1970s-1990s exploitation movies. They were originally produced, distributed, exhibited, and exported in Indonesia during the period of Suharto’s dictatorship.
Labelled and distributed by DVD distributors–MondomacabroDVD, Troma Team, and VideoAsia—as cult films, films like Lady Terminator or The Warrior (Jaka Sembung) series are discussed among cult film fans in online forums and blogs. Indonesia’s underrated filmmakers, such as Arizal and Tjut Tjalil as well as popular actors, such as Barry Prima and Eva Arnaz also make a comeback and become those who are celebrated by global cult fans, despite their overlooked status in Indonesia’s legitimate culture contexts. Focusing on fans reviews and critical conversations about the films, Ekky Imanjaya will investigate how global fans critically perceive and respond to these films. How do global fans define and formulate the term “Crazy Indonesia” and the Indonesia-ness of the films?
Ekky Imanjaya is a PhD candidate at Art, Media, and American Studies, University of East Anglia. He is also faculty member at Film Department, BINUS INTERNATIONAL, Bina Nusantara University, Jakarta. He has published articles in journals, including Jump Cut, Asian Cinema, Cinematheque Quarterly, Wacana, and Cinemaya. He has recently guest edited a special issue entitled “The Bad, The Worse, and The Worst: The Significance of Indonesian Cult, Exploitation, and B Movies” for Plaridel : A Philippine Journal of Communication, Media, and Society.
Research Interests:
Thanks to support from the Bertha Foundation, a series of special screenings and events will be taking place across Picturehouse Cinemas from 28 June for the release of the astonishing new documentary THE ACT OF KILLING.... more
Thanks to support from the Bertha Foundation, a series of special screenings and events will be taking place across Picturehouse Cinemas from 28 June for the release of the astonishing new documentary THE ACT OF KILLING.
Executive-produced by iconic filmmakers Werner Herzog and Errol Morris, THE ACT OF KILLING charts the legacy of bloody anti-communist purges in Indonesia in 1965 in surreal and chilling fashion, by having the unrepentant perpetrators re-enact their killings in the style of their favourite Hollywood genre films.
Alongside these events, Indonesian human rights group Tapol are conducting a special campaign asking the Indonesian government to officially acknowledge the 1965 atrocities, so that a long-overdue process of truth, reconciliation and justice can finally begin.
So join us for screenings of an extended cut of the film, director Q&As and panel discussions with experts. Discover a truly staggering work of non-fiction filmmaking, and challenge the Indonesian government to Say Sorry for ’65!
We are delighted to welcome Ekky Imanjaya, Researcher in Indonesian Cinema at the University of East Anglia, and Indria Fernida, visiting representative of Indonesian human rights group KontraS, for a panel discussion following this special extended cut screening. The discussion will be chaired by Norwich Amnesty.
Executive-produced by iconic filmmakers Werner Herzog and Errol Morris, THE ACT OF KILLING charts the legacy of bloody anti-communist purges in Indonesia in 1965 in surreal and chilling fashion, by having the unrepentant perpetrators re-enact their killings in the style of their favourite Hollywood genre films.
Alongside these events, Indonesian human rights group Tapol are conducting a special campaign asking the Indonesian government to officially acknowledge the 1965 atrocities, so that a long-overdue process of truth, reconciliation and justice can finally begin.
So join us for screenings of an extended cut of the film, director Q&As and panel discussions with experts. Discover a truly staggering work of non-fiction filmmaking, and challenge the Indonesian government to Say Sorry for ’65!
We are delighted to welcome Ekky Imanjaya, Researcher in Indonesian Cinema at the University of East Anglia, and Indria Fernida, visiting representative of Indonesian human rights group KontraS, for a panel discussion following this special extended cut screening. The discussion will be chaired by Norwich Amnesty.
Research Interests:
This round table will address issues related to education and the use of film as a tool for educational outreach in the experience of leading Southeast Asian educators, archivists, film scholars, and community programmers. Discussants... more
This round table will address issues related to education and the use of film as a tool for educational outreach in the experience of leading Southeast Asian educators, archivists, film scholars, and community programmers. Discussants include Nick Deocampo- Philippines, Chalida Uabumrungjit- Thailand, Michael R. DiGregorio- Viet Nam, Ekky Imanjaya- Indonesia, with moderator Tan Bee Thiam, Singapore.
I discuss my experience as a film educator for high school students for 1,5 years. I chose clips from popular films, music video, or ad to deliver course intended learning outcomes both on film-related courses or general courses.
I discuss my experience as a film educator for high school students for 1,5 years. I chose clips from popular films, music video, or ad to deliver course intended learning outcomes both on film-related courses or general courses.
Research Interests:
including the screening of my short documentary on The Tielman Brothers and Indorock: "The Tielmans". This ‘indorockumentary’ tells the story of The Tielman Brothers, the band that started the European musical revolution known as Indorock... more
including the screening of my short documentary on The Tielman Brothers and Indorock: "The Tielmans". This ‘indorockumentary’ tells the story of The Tielman Brothers, the band that started the European musical revolution known as Indorock and pioneered Dutch “Nederpop.”
Research Interests:
Do Commercialism and Islamic Law (Shariah) and Virtues become potential factors to lower the quality of so-called Indonesian ?Islamic Cinema??. Those factors seem to be embedded in most recent post- New Order Islamic films, and some film... more
Do Commercialism and Islamic Law (Shariah) and Virtues become potential factors to lower the quality of so-called Indonesian ?Islamic Cinema??. Those factors seem to be embedded in most recent post- New Order Islamic films, and some film critics highlight that most of the movies in this ?genre? are mediocre. In Salim Said?s point-of-view, the battle between commercial films versus idealist films is eternal. But how about the position of Islamic Law and virtues both in the content and (pre)production of idealist Islamic films: to endorse or to worsen the quality of the movie? On the other hand, there are some discourses from Dakwah activist claiming that both filmmaking process and the stories should obey fit with Fiqih and Shariah. For example, they try to find the way out the problem when there is a scene about husband and wife hugging, but in the real life they are not the real couple (thus, they are not allowed to do so). Ketika Cinta Bertasbih (When Love is praying) is another interesting case, while they create a TV show for casting the actors to be fitted with some Islamic values embodied in fiction characters.
Research Interests:
Case Study from Case Study Center, BINUS INTERNATIONAL, Bina Nusantara University, Jakarta. This case describes how PT Merantau Films successfully launched the movie The Raid through series of processes: the production, distribution,... more
Case Study from Case Study Center, BINUS INTERNATIONAL, Bina Nusantara University, Jakarta.
This case describes how PT Merantau Films successfully launched the movie The Raid through series of processes: the production, distribution, and exhibition
This case describes how PT Merantau Films successfully launched the movie The Raid through series of processes: the production, distribution, and exhibition
Research Interests:
Kata pengantar untuk buku "Memoar Garin Nugroho: Era Emas Film Indonesia 1998-2019" (Garin Nugroho, Warning Books, 2020)
Research Interests:
Indonesia and the Philippines both developed exploitation cinema in the 1970s and 1980s that was marketed and exported overseas. Iconic titles produced during this era include Women in Cages (1971) and Vampire Hookers (1978) from the... more
Indonesia and the Philippines both developed exploitation cinema in the 1970s and 1980s that was marketed and exported overseas. Iconic titles produced during this era include Women in Cages (1971) and Vampire Hookers (1978) from the Philippines and The Queen of Black Magic (1981) and Lady Terminator (1989) from Indonesia. In both countries, exploitation production occurred under the auspices of authoritarianism: the New Order in Indonesia (1966-1998) and the presidency of Ferdinand Marcos in the Philippines (1965-1986). By tracing the development of exploitation cinema in both Indonesia and the Philippines, this chapter shows how exploitation films developed in two Southeast Asian countries under quite different local conditions that included quite different drivers, players, and structural factors. At the same time, both countries were involved in a transnational exploitation film market that connected both countries to larger trends but created connections between Indonesia and Philippines that have to date not been explored.
In the Philippines of the late 1960s, filmmakers such as Eddie Romero and Gerardo de León were without production capital following the decline of the Studio Era, and found themselves working with American producers such as Roger Corman looking for cheap locations to make exploitation pictures for the American grindhouse, drive-in and b-grade circuits. Broadly, these films were framed by the colonial relationship with the United States. In Indonesia by contrast, a contradictory set of local policies drove a small group of local commercial producers with global ambitions into international exploitation circuits. Both industries intertwined at various points including at film markets, in content, and the translation of exploitation genres within a Southeast Asian style of filmmaking.
Barker, Thomas, and Ekky Imanjaya. ), Gaik Cheng Khoo et al., Amsterdam University Press, Amsterdam, 2020. Free Preview: https://www.aup.nl/en/book/9789462989344/southeast-asia-on-screen
In the Philippines of the late 1960s, filmmakers such as Eddie Romero and Gerardo de León were without production capital following the decline of the Studio Era, and found themselves working with American producers such as Roger Corman looking for cheap locations to make exploitation pictures for the American grindhouse, drive-in and b-grade circuits. Broadly, these films were framed by the colonial relationship with the United States. In Indonesia by contrast, a contradictory set of local policies drove a small group of local commercial producers with global ambitions into international exploitation circuits. Both industries intertwined at various points including at film markets, in content, and the translation of exploitation genres within a Southeast Asian style of filmmaking.
Barker, Thomas, and Ekky Imanjaya. ), Gaik Cheng Khoo et al., Amsterdam University Press, Amsterdam, 2020. Free Preview: https://www.aup.nl/en/book/9789462989344/southeast-asia-on-screen
Research Interests:
Available at Amazon: http://www.amazon.co.uk/Indonesian-Women-Filmmakers-Yvonne-Michalik/dp/3940132632/ref=sr_1_1?ie=UTF8&qid=1386364742&sr=8-1&keywords=women+indonesian+filmmakers
Research Interests:
Islamic films have found a devoted market in Indonesia. Commercial success will prolong the trend.
Source:
https://360info.org/islam-and-box-office-a-match-made-in-heaven/
Source:
https://360info.org/islam-and-box-office-a-match-made-in-heaven/
Research Interests:
Ulasan "Menonton Ulang (Setelah) Lewat Djam Malam di Panggung Teater". Pertunjukan Setelah Lewat Djam Malam (SLDM) dipimpin sutradara Yudi Ahmad Tajudin dan ditulis oleh oleh Permata Adinda serta Shohifur Ridho’I. SLDM menjelajahi... more
Ulasan "Menonton Ulang (Setelah) Lewat Djam Malam di Panggung Teater". Pertunjukan Setelah Lewat Djam Malam (SLDM) dipimpin sutradara Yudi Ahmad Tajudin dan ditulis oleh oleh Permata Adinda serta Shohifur Ridho’I. SLDM menjelajahi berbagai kemungkinan potensi kolaborasi antara seni teater dengan sinema, juga dengan seni musik dan tari.
Baca selengkapnya di artikel "Menonton Ulang (Setelah) Lewat Djam Malam di Panggung Teater", https://tirto.id/gzp1
Baca selengkapnya di artikel "Menonton Ulang (Setelah) Lewat Djam Malam di Panggung Teater", https://tirto.id/gzp1
Research Interests:
Pada 2022, Perfilman Indonesia sedang bergeliat dan dengan cepat bangkit dari keterpurukan akibat pandemi, bahkan lebih baik dari tahun-tahun sebelumnya. Tulisan ini menjelaskan tentang rekor pencapaian jumlah penonton bioskop terbanyak... more
Pada 2022, Perfilman Indonesia sedang bergeliat dan dengan cepat bangkit dari keterpurukan akibat pandemi, bahkan lebih baik dari tahun-tahun sebelumnya.
Tulisan ini menjelaskan tentang rekor pencapaian jumlah penonton bioskop terbanyak pasca Reformasi, makin trendingnya OTT yang berpuncak pada menangnya Vidio mengalahkan Netflix dan Disney Hotstar, pencapaian global sinema kita, dan diakuinya sineas "kecil".
Sumber: https://theconversation.com/pecah-rekor-penonton-geliat-festival-dan-prestasi-global-sinema-indonesia-2022-meroket-setelah-dua-tahun-tergerus-pandemi-195967
Tulisan ini menjelaskan tentang rekor pencapaian jumlah penonton bioskop terbanyak pasca Reformasi, makin trendingnya OTT yang berpuncak pada menangnya Vidio mengalahkan Netflix dan Disney Hotstar, pencapaian global sinema kita, dan diakuinya sineas "kecil".
Sumber: https://theconversation.com/pecah-rekor-penonton-geliat-festival-dan-prestasi-global-sinema-indonesia-2022-meroket-setelah-dua-tahun-tergerus-pandemi-195967
Research Interests:
Tulisan saya di Zinetflix no 3; 30 Maret 2022.
Tentang sejarah film Indonesia 1990an yang tidak pernah benar-benar mati suri.
Tentang sejarah film Indonesia 1990an yang tidak pernah benar-benar mati suri.
Research Interests:
My articles (both in English and Chinese) for Taipei Film Festival Programme Catalogue. They had program titled "Filmmaker in Focus: Garin Nugroho", and asked me to write an essay about it. Check page 207 (for Chinese version) and... more
My articles (both in English and Chinese) for Taipei Film Festival Programme Catalogue. They had program titled "Filmmaker in Focus: Garin Nugroho", and asked me to write an essay about it.
Check page 207 (for Chinese version) and page 220 (for English version.
Check page 207 (for Chinese version) and page 220 (for English version.
Research Interests:
Lebih dari sekadar tontonan akhir pekan, Panggung Boneka Si Unyil yang lebih dari 30 tahun lalu dianggap sebagai alat propaganda Orde Baru (Orba), kini menjadi media cult dan punya pengaruh trivial cukup signifikan dalam budaya pop.... more
Lebih dari sekadar tontonan akhir pekan, Panggung Boneka Si Unyil yang lebih dari 30 tahun lalu dianggap sebagai alat propaganda Orde Baru (Orba), kini menjadi media cult dan punya pengaruh trivial cukup signifikan dalam budaya pop. Sementara para penggemarnya yang menjadi target propaganda Orba—anak-anak generasi 1980-an yang kini menjelma menjadi penggerak ekonomi-budaya-politik-sosial—memilah-milah ingatan bersama dan justru menjadi salah satu penyebab keruntuhan Orde Baru.
Bibliografi
Bappenas. “Repelita IV, Buku III.” Jakarta: Badan Perencanaan Pembangunan Nasional, 9 Januari 2009. https://www.bappenas.go.id/id/data-dan-informasi-utama/dokumen-perencanaan-dan-pelaksanaan/repelita-iv---buku-iii/ diakses 20 Oktober 2017.
Fiske, John. “The Cultural Economy of Fandom”. The Cult Film Reader, edited by Mathijs, , Ernest and Xavier Mendik, Open University Press, 2007, p445-455.
Grant, Barry. “Science Fiction Double Feature: Ideology in the Cult Film”. The Cult Film Experience, Beyond All Reason. Telotte, JP, Austin: University of Texas Press, 1991, p 122-137.
Hendriyani, Ed Hollander, Leen d’Haenens and Johannes Beentjes. “Children's Television in Indonesia”. Journal of Children and Media, Vol. 5, No. 1, 2011, 86-100.
Hill, Matt. Fan Cultures. London and New York: Routledge, 2002.
Imanda, Tito. “Si Unyil Anak Indonesia”. Jurnal Antropologi Indonesia no 75 (2004). http://journal.ui.ac.id/index.php/jai/article/view/3518/2794 diakses 20 Oktober 2017.
Jenkins, Henry. Convergence Culture (Where Old and New Media Collide). New York, NYU Press, 2006.
Jenkins, Henry. Textual Poachers: Television Fans and Participatory Culture. Routledge, 1992
Kitley, Philip. “Pancasila in the Minor Key: TVRI’s Si Unyil Models the Child”. Indonesia 68 (October 1999), 129–152.
Mathijs, Ernest and Xavier Mendik. The Cult Film Reader. Open University Press, 2007.
Mathijs, Ernest and Jamie Sexton. Cult Cinema: an Introduction. Wiley-Blackwell 2011.
Bibliografi
Bappenas. “Repelita IV, Buku III.” Jakarta: Badan Perencanaan Pembangunan Nasional, 9 Januari 2009. https://www.bappenas.go.id/id/data-dan-informasi-utama/dokumen-perencanaan-dan-pelaksanaan/repelita-iv---buku-iii/ diakses 20 Oktober 2017.
Fiske, John. “The Cultural Economy of Fandom”. The Cult Film Reader, edited by Mathijs, , Ernest and Xavier Mendik, Open University Press, 2007, p445-455.
Grant, Barry. “Science Fiction Double Feature: Ideology in the Cult Film”. The Cult Film Experience, Beyond All Reason. Telotte, JP, Austin: University of Texas Press, 1991, p 122-137.
Hendriyani, Ed Hollander, Leen d’Haenens and Johannes Beentjes. “Children's Television in Indonesia”. Journal of Children and Media, Vol. 5, No. 1, 2011, 86-100.
Hill, Matt. Fan Cultures. London and New York: Routledge, 2002.
Imanda, Tito. “Si Unyil Anak Indonesia”. Jurnal Antropologi Indonesia no 75 (2004). http://journal.ui.ac.id/index.php/jai/article/view/3518/2794 diakses 20 Oktober 2017.
Jenkins, Henry. Convergence Culture (Where Old and New Media Collide). New York, NYU Press, 2006.
Jenkins, Henry. Textual Poachers: Television Fans and Participatory Culture. Routledge, 1992
Kitley, Philip. “Pancasila in the Minor Key: TVRI’s Si Unyil Models the Child”. Indonesia 68 (October 1999), 129–152.
Mathijs, Ernest and Xavier Mendik. The Cult Film Reader. Open University Press, 2007.
Mathijs, Ernest and Jamie Sexton. Cult Cinema: an Introduction. Wiley-Blackwell 2011.
Research Interests:
My article on "Tiga Dara" (Three Sisters, Usmar Ismail, 1957) and "Ini Kisah Tiga Dara" (Three Sassy Sisters, Nia Dinata, 2016), both in English and Chinese. About the importance of the films (the restoration, the content, and the... more
My article on "Tiga Dara" (Three Sisters, Usmar Ismail, 1957) and "Ini Kisah Tiga Dara" (Three Sassy Sisters, Nia Dinata, 2016), both in English and Chinese. About the importance of the films (the restoration, the content, and the context).
It was originally published in 2017 Taipei Film Festival catalog.
It was originally published in 2017 Taipei Film Festival catalog.
Research Interests:
Mengulas tiga film legendaris Usmar Ismail, yang dikenal sebagai "Bapak Film Indonesia", yang hingga kini masih jarang disaksikan publik, yaitu "Lagi-Lagi Krisis" (1955), "Big Village" (1969), dan "Ananda" (1970). Tulisan ini hendak... more
Mengulas tiga film legendaris Usmar Ismail, yang dikenal sebagai "Bapak Film Indonesia", yang hingga kini masih jarang disaksikan publik, yaitu "Lagi-Lagi Krisis" (1955), "Big Village" (1969), dan "Ananda" (1970).
Tulisan ini hendak mengemukakan sisi lain dari Usmar, yang dengan tajam mengobservasi dan bahkan menguliti tema lain: fenomena urbanisasi dan globalisasi yang dialami oleh manusia Indonesia.
Ketiga film yang diulas menunjukkan kekayaan sudut berbeda khazanah pemikiran dan karya Usmar.
Tulisan ini hendak mengemukakan sisi lain dari Usmar, yang dengan tajam mengobservasi dan bahkan menguliti tema lain: fenomena urbanisasi dan globalisasi yang dialami oleh manusia Indonesia.
Ketiga film yang diulas menunjukkan kekayaan sudut berbeda khazanah pemikiran dan karya Usmar.
Research Interests:
Pemerintah dan Aktivis Perfilman Indonesia sedang menggodok "Integrated Box Office System". Tulisan ini mendukung rencana ini dan menegaskan pentingnya data dengan ukuran jumlah pendapatan kotor (gross) dan juga memasukkan data-data film... more
Pemerintah dan Aktivis Perfilman Indonesia sedang menggodok "Integrated Box Office System". Tulisan ini mendukung rencana ini dan menegaskan pentingnya data dengan ukuran jumlah pendapatan kotor (gross) dan juga memasukkan data-data film impor, yang bisa diakses publik. Dimuat di Kompas, 18 Juni 2016.
Link: http://findingjakasembung.blogspot.co.uk/2016/06/menuju-integrated-box-office-system.html
Link: http://findingjakasembung.blogspot.co.uk/2016/06/menuju-integrated-box-office-system.html
Research Interests:
A glance history of post-Suharto Indonesian cinema. written in German.
Research Interests:
My take on Passionate Revolutions: The Media and the Rise and Fall of the Marcos Regime (2018)
Full text: http://findingjakasembung.blogspot.com/2018/12/passionate-revolutions-media-and-rise.html
Full text: http://findingjakasembung.blogspot.com/2018/12/passionate-revolutions-media-and-rise.html
Research Interests:
Tinjauan buku berjudul Performance, Popular Culture, and Piety in Muslim Southeast Asia oleh Timothy P. Daniels