The discourse on film nasional (national film) in Indonesia always started by bringing up Darah d... more The discourse on film nasional (national film) in Indonesia always started by bringing up Darah dan Doa (1950, Blood and Prayer) as the foundation of the Indonesian film industry. The prominent film historian, Misbach Yusa Biran, stated that Darah dan Doa was produced with national consciousness value. The legacy of Darah dan Doa was not only neglecting the role of filmmakers from pre-Independence in Indonesia but also the role of other filmmakers during the 1950s, including Dr. Huyung. Previously, Dr. Huyung (Hinatsu Eitaro /Hŏ Yŏng) came from Korea and became a supporter of Imperial Japan during World War II. After Indonesia gained her independence, Huyung joined Berita Film Indonesia and became a film teacher at the Cine Drama Institute and Kino Drama Atelier. It was there that they then went on to make Frieda (1951), Bunga Rumah Makan (1951, The Flower of the Restaurant), Kenangan Masa (1951, Memories of the Past), and Gadis Olahraga (1951, the Sportswoman).
Southeast of Now: Directions in Contemporary and Modern Art in Asia, 2020
There are so many people to thank for all the support, encouragement and advice that I have recei... more There are so many people to thank for all the support, encouragement and advice that I have received over the last three years and the period of study leading up to it. I'd like to thank my mum for starting me down this road as a mere slip of a thing, attempting to find Roman remains in Ilchester (I was looking in the wrong place but I didn't know it then!) and my undergraduate supervisor, Dr Caradoc Peters, who instilled in me the passion, drive and skills to take my studies further. Also thanks to Steve Hartgroves for teaching me not to take it all so seriously! Thanks, too, go to all those people who helped me with the practical skills I needed: Bryn Tapper and Jane Powning at Cornwall HES for their help with GIS matters, Drs Richard Sandover and Chris Smart at Exeter for similar help and advice, and Chris, especially, for encouraging me to persevere in the long haul to finishing the writing up. Thanks to Dr Ben Pears for advice and help with soils characterisation. To Anj Beckham, at Norfolk County Council, Ben Croxford, at Kent County Council, and Chris Webster, at Somerset County Council, for providing me with all the digital information, reports and historic environment records for my regional studies, also huge thanks, as this research would not have been so straightforward without their help. Special thanks and acknowledgement go to my supervisors, Professor Stephen Rippon and Professor Oliver Creighton, for all their help and assistance over the last three years. To Steve, in particular, go thanks for the opportunity to carry out my doctoral research within the scope of the Fields of Britannia Project and for his untiring interest and support. Finally, I would like to thank all those people who were always there to give me support and encouragement, or who dragged me away from the computer to make sure I kept my sanity and perspective:
Artikel ini membahas isu nasionalisme parsial dalam karya-karya film Nawi Ismail. Penulis memerik... more Artikel ini membahas isu nasionalisme parsial dalam karya-karya film Nawi Ismail. Penulis memeriksa bagiamana film Nawi Ismail membicarakan identitas kebangsaan dalam kerangka Lacanian. Tujuannya adalah untuk menjabarkan cara Nawi Ismail menunjukkan proses pembentukan identitas bangsa sekaligus menunjukkan batasannya. Ada tujuh film yang dianalisa dalam artikel ini. Pembahasan dalam artikel ini terbatas pada pembentukan tatanan simbolik, penjabaran fantasi, dan penghadiran jouissance. Tujuh film Nawi Ismail yang dibahas dalam artikel ini menyiratkan bahwa fantasi memiliki batasannya sendiri. Identitas bangsa yang total itu mustahil karena tatanan simbolik selalu memiliki lack.
Basuki Resobowo (1916-99) is known primarily as a painter, activist and head of Lembaga Kebudayaa... more Basuki Resobowo (1916-99) is known primarily as a painter, activist and head of Lembaga Kebudayaan Rakyat (Lekra, Institute for People's Culture). He was affiliated with left-wing politics during Sukarno's Old Order (1945-65) and first entered the film industry in the 1940s when he played the role of Basuki in Jo An Djan's film Kedok Ketawa (1940). During the Japanese Occupation (1942-45), Resobowo was part of Keimin Bunka Shidoso (Culture Centre). Literature on Resobowo's artistic practice has mostly referred to his background in painting. However, in the 1950s, he joined Perusahaan Film Negara Indonesia (Perfini) as an art director and scriptwriter, making seven films, including Darah dan Doa (Blood and Prayer) in 1950, which is regarded as the first film nasional (national film). This article, while devoting some space to Resobowo's overall career, chiefly endeavours to revisit the early Perfini films and examine the influence of Reso-bowo's ideas about art and theatre on cinematographic mise-en-scene. Previous studies of lm nasional have concentrated solely on the narrative aspect of these lms, and their visual qualities have been rarely mentioned. With an in-depth reading of Per ni lms, this article shows how Resobowo’s multidisciplinary background and ideological inclinations towards realism made a signi cant contribution to the lmic reality made by Perfini.
The discourse on film nasional (national film) in Indonesia always started by bringing up Darah ... more The discourse on film nasional (national film) in Indonesia always started by bringing up Darah dan Doa (1950, Blood and Prayer) as the foundation of the Indonesian film industry. The prominent film historian, Misbach Yusa Biran, stated that Darah dan Doa was produced with national consciousness value. The legacy of Darah dan Doa was not only neglecting the role of filmmakers from pre-Independence in Indonesia but also the role of other filmmakers during the 1950s, including Dr. Huyung. Previously, Dr. Huyung (Hinatsu Eitaro /Hŏ Yŏng) came from Korea and became a supporter of Imperial Japan during World War II. After Indonesia gained her independence, Huyung joined Berita Film Indonesia and became a film teacher at the Cine Drama Institute and Kino Drama Atelier. It was there that they then went on to make Frieda (1951), Bunga Rumah Makan (1951, The Flower of the Restaurant), Kenangan Masa (1951, Memories of the Past), and Gadis Olahraga (1951, the Sportswoman).
For the past few years, some of Indonesian artists are using food as the issue. Food is seen as h... more For the past few years, some of Indonesian artists are using food as the issue. Food is seen as having intertwined histories with the geography and politics in Indonesia and the world. The policy made by the New Order era (1965-1998) changed a lot of things, such as to food sustainability, the used of technology, and cultural and political structures. How the artists (re)-articulate the historical and political aspects of food issue in Indonesia? How the artists were using the technological aspect to support their artworks? And how they were producing counter-narration answering the food security and sustainability? These questions will sharpen the discussion of the food cartographers, the Indonesian artists who using food issue such as Agung "Leak", Elia Nurvista and Bakudapan, Ary "jimged" Sendy, Julian "Togar" Abraham, and Lifepatch from Indonesia. All of the artists use video, sound system, photography to support their artworks. For Togar and Lifepatch, they used low-tech so it can be used and adaptable in the wider community as well.
The emergence of initiatives to make films that focus on the East Indonesia has a long history. I... more The emergence of initiatives to make films that focus on the East Indonesia has a long history. It is not only seen as an attempt to uncover the unexplored, but also became an effort to see how decentralization carried out by the State. The paper will focus on three films take place in Sumba, the East Indonesia region, which is famous for the mooi scenery. First is Garin Nugroho in Letter For an Angel (1994). Second is Ifa Isfansyah in the Golden Cane Warrior (2014). And the last one is Mouly Surya in Marlina The Murderer in Four Acts (2017). By comparing Garin Nugroho, Ifa Isfansyah, and Mouly Surya, it can be seen the perspectives of filmmakers from Java seeing Sumba. How is Sumba represented? How is the Sumba identity articulated? Using concept of ‘the real gaze’, the films are closely read. The concept help the reader seeing which film bravely showing the traumatic experience of the gaze and which films aren’t. The use of the gaze could make better understanding on the complexities of Sumba who forced to take national identity of being an Indonesian.
tulisan ini berisi review atas pameran Saleh Husein, seniman yang juga dikenal sebagai anggota wh... more tulisan ini berisi review atas pameran Saleh Husein, seniman yang juga dikenal sebagai anggota white Shoes and The Couples Company. Pameran Ale, begitu ia akrab disapa, yang berjudul "Riwayat Saudagar" yang berlangsung pada tahun 2012 mencoba mengangkat sejarah perjalanan nenek moyang Ale dari Yaman. Dalam tulisan ini, saya mencoba melihat pameran Ale dan mencoba mencocokkannya dengan penelitian Engseng Ho tentang orang-orang Hadrami yang bermigrasi ke Asia.
Dalam kumpulan penelitian ini, saya membuat penelitian mengenai seniman perempuan di Indonesia. P... more Dalam kumpulan penelitian ini, saya membuat penelitian mengenai seniman perempuan di Indonesia. Penelitian tersebut berjudul "Jaring Perempuan", dimulai dari halaman 179 - 209.
The discourse on film nasional (national film) in Indonesia always started by bringing up Darah d... more The discourse on film nasional (national film) in Indonesia always started by bringing up Darah dan Doa (1950, Blood and Prayer) as the foundation of the Indonesian film industry. The prominent film historian, Misbach Yusa Biran, stated that Darah dan Doa was produced with national consciousness value. The legacy of Darah dan Doa was not only neglecting the role of filmmakers from pre-Independence in Indonesia but also the role of other filmmakers during the 1950s, including Dr. Huyung. Previously, Dr. Huyung (Hinatsu Eitaro /Hŏ Yŏng) came from Korea and became a supporter of Imperial Japan during World War II. After Indonesia gained her independence, Huyung joined Berita Film Indonesia and became a film teacher at the Cine Drama Institute and Kino Drama Atelier. It was there that they then went on to make Frieda (1951), Bunga Rumah Makan (1951, The Flower of the Restaurant), Kenangan Masa (1951, Memories of the Past), and Gadis Olahraga (1951, the Sportswoman).
Southeast of Now: Directions in Contemporary and Modern Art in Asia, 2020
There are so many people to thank for all the support, encouragement and advice that I have recei... more There are so many people to thank for all the support, encouragement and advice that I have received over the last three years and the period of study leading up to it. I'd like to thank my mum for starting me down this road as a mere slip of a thing, attempting to find Roman remains in Ilchester (I was looking in the wrong place but I didn't know it then!) and my undergraduate supervisor, Dr Caradoc Peters, who instilled in me the passion, drive and skills to take my studies further. Also thanks to Steve Hartgroves for teaching me not to take it all so seriously! Thanks, too, go to all those people who helped me with the practical skills I needed: Bryn Tapper and Jane Powning at Cornwall HES for their help with GIS matters, Drs Richard Sandover and Chris Smart at Exeter for similar help and advice, and Chris, especially, for encouraging me to persevere in the long haul to finishing the writing up. Thanks to Dr Ben Pears for advice and help with soils characterisation. To Anj Beckham, at Norfolk County Council, Ben Croxford, at Kent County Council, and Chris Webster, at Somerset County Council, for providing me with all the digital information, reports and historic environment records for my regional studies, also huge thanks, as this research would not have been so straightforward without their help. Special thanks and acknowledgement go to my supervisors, Professor Stephen Rippon and Professor Oliver Creighton, for all their help and assistance over the last three years. To Steve, in particular, go thanks for the opportunity to carry out my doctoral research within the scope of the Fields of Britannia Project and for his untiring interest and support. Finally, I would like to thank all those people who were always there to give me support and encouragement, or who dragged me away from the computer to make sure I kept my sanity and perspective:
Artikel ini membahas isu nasionalisme parsial dalam karya-karya film Nawi Ismail. Penulis memerik... more Artikel ini membahas isu nasionalisme parsial dalam karya-karya film Nawi Ismail. Penulis memeriksa bagiamana film Nawi Ismail membicarakan identitas kebangsaan dalam kerangka Lacanian. Tujuannya adalah untuk menjabarkan cara Nawi Ismail menunjukkan proses pembentukan identitas bangsa sekaligus menunjukkan batasannya. Ada tujuh film yang dianalisa dalam artikel ini. Pembahasan dalam artikel ini terbatas pada pembentukan tatanan simbolik, penjabaran fantasi, dan penghadiran jouissance. Tujuh film Nawi Ismail yang dibahas dalam artikel ini menyiratkan bahwa fantasi memiliki batasannya sendiri. Identitas bangsa yang total itu mustahil karena tatanan simbolik selalu memiliki lack.
Basuki Resobowo (1916-99) is known primarily as a painter, activist and head of Lembaga Kebudayaa... more Basuki Resobowo (1916-99) is known primarily as a painter, activist and head of Lembaga Kebudayaan Rakyat (Lekra, Institute for People's Culture). He was affiliated with left-wing politics during Sukarno's Old Order (1945-65) and first entered the film industry in the 1940s when he played the role of Basuki in Jo An Djan's film Kedok Ketawa (1940). During the Japanese Occupation (1942-45), Resobowo was part of Keimin Bunka Shidoso (Culture Centre). Literature on Resobowo's artistic practice has mostly referred to his background in painting. However, in the 1950s, he joined Perusahaan Film Negara Indonesia (Perfini) as an art director and scriptwriter, making seven films, including Darah dan Doa (Blood and Prayer) in 1950, which is regarded as the first film nasional (national film). This article, while devoting some space to Resobowo's overall career, chiefly endeavours to revisit the early Perfini films and examine the influence of Reso-bowo's ideas about art and theatre on cinematographic mise-en-scene. Previous studies of lm nasional have concentrated solely on the narrative aspect of these lms, and their visual qualities have been rarely mentioned. With an in-depth reading of Per ni lms, this article shows how Resobowo’s multidisciplinary background and ideological inclinations towards realism made a signi cant contribution to the lmic reality made by Perfini.
The discourse on film nasional (national film) in Indonesia always started by bringing up Darah ... more The discourse on film nasional (national film) in Indonesia always started by bringing up Darah dan Doa (1950, Blood and Prayer) as the foundation of the Indonesian film industry. The prominent film historian, Misbach Yusa Biran, stated that Darah dan Doa was produced with national consciousness value. The legacy of Darah dan Doa was not only neglecting the role of filmmakers from pre-Independence in Indonesia but also the role of other filmmakers during the 1950s, including Dr. Huyung. Previously, Dr. Huyung (Hinatsu Eitaro /Hŏ Yŏng) came from Korea and became a supporter of Imperial Japan during World War II. After Indonesia gained her independence, Huyung joined Berita Film Indonesia and became a film teacher at the Cine Drama Institute and Kino Drama Atelier. It was there that they then went on to make Frieda (1951), Bunga Rumah Makan (1951, The Flower of the Restaurant), Kenangan Masa (1951, Memories of the Past), and Gadis Olahraga (1951, the Sportswoman).
For the past few years, some of Indonesian artists are using food as the issue. Food is seen as h... more For the past few years, some of Indonesian artists are using food as the issue. Food is seen as having intertwined histories with the geography and politics in Indonesia and the world. The policy made by the New Order era (1965-1998) changed a lot of things, such as to food sustainability, the used of technology, and cultural and political structures. How the artists (re)-articulate the historical and political aspects of food issue in Indonesia? How the artists were using the technological aspect to support their artworks? And how they were producing counter-narration answering the food security and sustainability? These questions will sharpen the discussion of the food cartographers, the Indonesian artists who using food issue such as Agung "Leak", Elia Nurvista and Bakudapan, Ary "jimged" Sendy, Julian "Togar" Abraham, and Lifepatch from Indonesia. All of the artists use video, sound system, photography to support their artworks. For Togar and Lifepatch, they used low-tech so it can be used and adaptable in the wider community as well.
The emergence of initiatives to make films that focus on the East Indonesia has a long history. I... more The emergence of initiatives to make films that focus on the East Indonesia has a long history. It is not only seen as an attempt to uncover the unexplored, but also became an effort to see how decentralization carried out by the State. The paper will focus on three films take place in Sumba, the East Indonesia region, which is famous for the mooi scenery. First is Garin Nugroho in Letter For an Angel (1994). Second is Ifa Isfansyah in the Golden Cane Warrior (2014). And the last one is Mouly Surya in Marlina The Murderer in Four Acts (2017). By comparing Garin Nugroho, Ifa Isfansyah, and Mouly Surya, it can be seen the perspectives of filmmakers from Java seeing Sumba. How is Sumba represented? How is the Sumba identity articulated? Using concept of ‘the real gaze’, the films are closely read. The concept help the reader seeing which film bravely showing the traumatic experience of the gaze and which films aren’t. The use of the gaze could make better understanding on the complexities of Sumba who forced to take national identity of being an Indonesian.
tulisan ini berisi review atas pameran Saleh Husein, seniman yang juga dikenal sebagai anggota wh... more tulisan ini berisi review atas pameran Saleh Husein, seniman yang juga dikenal sebagai anggota white Shoes and The Couples Company. Pameran Ale, begitu ia akrab disapa, yang berjudul "Riwayat Saudagar" yang berlangsung pada tahun 2012 mencoba mengangkat sejarah perjalanan nenek moyang Ale dari Yaman. Dalam tulisan ini, saya mencoba melihat pameran Ale dan mencoba mencocokkannya dengan penelitian Engseng Ho tentang orang-orang Hadrami yang bermigrasi ke Asia.
Dalam kumpulan penelitian ini, saya membuat penelitian mengenai seniman perempuan di Indonesia. P... more Dalam kumpulan penelitian ini, saya membuat penelitian mengenai seniman perempuan di Indonesia. Penelitian tersebut berjudul "Jaring Perempuan", dimulai dari halaman 179 - 209.
Uploads
Papers by Umi Lestari
Books by Umi Lestari