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Contemporary Indonesian Film
This highly informative book explores the world of Post-Soeharto Indonesian audio-visual media in the exiting era of Reform. From a multidisciplinary approach it considers a wide variety of issues such as mainstream and alternative film practices, ceremonial and independent film festivals, film piracy, history and horror, documentary, television soaps, and Islamic films, as well as censorship from the state and street. Through the perspective of discourses on, and practices of film production, distribution, and exhibition, this book gives a detailed insight into current issues of Indonesia’s social and political situation, where Islam, secular realities, and ghosts on and off screen, mingle or clash.
From Monologue to Dialogue
From Monologue to Dialogue: Radio and Reform in Indonesia analyses how radio journalism since the late 1990s has been shaped by and contributed to Reformasi, or the ambition of democratizing Indonesian politics, economy and society. The book examines ideas and practices such as independent journalism, peace journalism, meta-journalism, virtual interactivity, talk-back radio and community radio, which have all been designed to renew audience interest in media and societal affairs. It pays special attention to radio programmes that enable hosts, experts, listeners and other participants to discuss and negotiate the very rules and boundaries of Indonesia’s newly acquired media freedom. The author argues that these contemporary programmes provide dialogic alternatives to the official New Order discourse dominated by monologism.
Moments in Indonesian Film History
This book explores Indonesian cinema, focusing on moments of unique creativity by Indonesian film artists who illuminate important but less-widely-known aspects of their multi-dimensional society. It begins by exploring early 1950s ‘Indonesian neorealist films’ of the Perfini group, which depict the ethos and emerging moral issues of the period of struggle for independence (1945–49). It continues by discussing four audacious political allegories produced in four discrete political eras—including the Sukarno, Suharto and Reformasi periods. It also surveys the main approaches to Islam in both popular cinema and auteur films during the Suharto New Order. One chapter celebrates the popular songs and B-movies of the Betawi comedian, Benyamin S, which dramatize the experience of the poor in ‘modernizing’ Jakarta. Another examines persisting Third World dimensions of Indonesian society as critiqued in two experimental features. The concluding chapter highlights innovation in a renewed Indonesian cinema of the post-Suharto Reformasi period (1999–2020), including films by an unprecedented generation of women writer-directors
Performing Contemporary Indonesia
Performance events have long had a central place in Indonesian societies in displaying power, affirming social relations, celebrating shared values, and at times conveying potent political critique. How have they responded to the momentous social and political changes of recent years - the dismantling of the centralised, authoritarian Suharto regime and its replacement with a more open, regionally-focused political system, the rapid expansion of global cultural influence? Investigations of diverse performance genres from different regions illustrate the way general socio-political processes play out locally, and how particular groups are responding. Exploring performed understandings of identity and community, such studies expand knowledge of a complex, contested period of change in Indonesia and the workings of contemporary performance in giving it expression. With contributions by Chua Beng Huat, Alexandra Crosby, Barbara Hatley, Ariel Heryanto, Brett Hough, Rachmah Ida, Reza Idria, Edwin Jurriens, Yoshi Fajar Kresno Murti, Neneng Yanti K Lahpan, Ugoran Prasad, Wawan Sofwan, Aline Scott-Maxwell, Fridus Steijlen, Alia Swastika, Denise Varney.
Alterities in Asia
This book investigates the politics of identity in Asia and explores how different groups of people inside and outside Asia have attempted to relate to the alterity of the places and cultures in the region through various modes (literary and filmic representation, scholarly knowledge, and so on) and at different points in time. Although coming from different perspectives like literary criticism, film studies, geography, cultural history, and political science, the contributors collectively argue that Asian otherness is more than the dialectical interplay between the Western self and one of its many others, and more than just the Orientalist discourse writ large. Rather, they demonstrate the ...
Southeast Asian Independent Cinema
The rise of independent cinema in Southeast Asia, following the emergence of a new generation of filmmakers there, is among the most significant recent developments in global cinema. The advent of affordable and easy access to digital technology has empowered startling new voices from a part of the world rarely heard or seen in international film circles. The appearance of fresh, sharply alternative, and often very personal voices has had a tremendous impact on local film production. This book documents these developments as a genuine outcome of the democratization and liberalization of film production. Contributions from respected scholars, interviews with filmmakers, personal accounts and ...
Gender and Islam in Indonesian Cinema
This book presents a historical overview of the Indonesian film industry, the relationship between censorship and representation, and the rise of Islamic popular culture. It considers scholarship on gender in Indonesian cinema through the lens of power relations. With key themes such as nationalism, women's rights, polygamy, and terrorism which have preoccupied local filmmakers for decades, Indonesia cinema resonates with the socio-political changes and upheavals in Indonesia’s modern history and projects images of the nation through the debates on gender and Islam. The text also sheds light on broader debates and questions about contemporary Islam and gender construction in contemporary Indonesia. Offering cutting edge accounts of the production of Islamic cinema, this new book considers gendered dimensions of Islamic media creation which further enrich the representations of the 'religious' and the 'Islamic' in the everyday lives of Muslims in South East Asia.
Indonesian Islamic Fiction in the 21st Century: Representations of the Other in the Works of Forum Lingkar Pena
THIS BOOK examines a selection of fictional works by writers belonging to the Indonesian association of writers, Forum Lingkar Pena (Pen Circle Forum; hereafter referred to as FLP). Figures from 2010 suggest that this organisation had around 5,000 members across 93 Indonesian branches and ten overseas branches. Writers recruited and trained by FLP have produced approximately nine hundred published works. Their works are often categorised as Islamic or religious literature (sastra religi). This label-ling of FLP’s literary output as Islamic literature has arisen principally be-cause of the publicly expressed aims and beliefs of key FLP figures which include such notions as sastra dakwah (literature for religious propaga-tion). In order to contextualise the emergence of FLP in the final years of the twentieth century and to locate this organisation within wider Indo-nesian literary developments, it is necessary to take account of cultural debates that came to the fore with the profound social and political changes which accompanied the end of the New Order regime in 1998.
From Ciné-goûters to Screenings for Cinephilie
In the book establish an initial assessment on the life of cinemas belonging to the Instituts français and the Alliances françaises.
Ghost Movies in Southeast Asia and Beyond
Ghost Movies in Southeast Asia and Beyond explores ghost movies, one of the most popular film genres in East and Southeast Asia, by focusing on movie narratives, the cultural contexts of their origins and audience reception. In the middle of the Asian crisis of the late 1990s, ghost movies became major box office hits. The emergence of the phenomenally popular “J-Horror” genre inspired similar ghost movie productions in Korea, Thailand, Taiwan, Hong Kong, the Philippines and Singapore. Ghost movies are embedded and reflected in national as well as transnational cultures and politics, in narrative traditions, in the social worlds of the audience, and in the perceptual experience of each individual. They reflect upon the identity crises and traumas of the living as well as of the dead, and they unfold affection and attraction in the border zone between amusement and thrill, secular and religious worldviews. This makes the genre interesting not only for sociologists, anthropologists, media and film scholars, but also for scholars of religion.
