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Identity and Pleasure
Identity and Pleasure: The Politics of Indonesian Screen Culture critically examines what media and screen culture reveal about the ways urban-based Indonesians attempted to redefine their identity in the first decade of this century. Through a richly nuanced analysis of expressions and representations found in screen culture (cinema, television and social media), it analyses the waves of energy and optimism, and the disillusionment, disorientation and despair, that arose in the power vacuum that followed the dramatic collapse of the militaristic New Order government. While in-depth analyses of identity and political contestation within the nation are the focus of the book, trans-national engagements and global dimensions are a significant part of the story in each chapter. The author focuses on contemporary cultural politics in Indonesia, but each chapter contextualizes current circumstances by setting them within a broader historical perspective.
Debur Zaman
Debur Zaman, kumpulan Cerpen Putu Oka Sukanta, dalam mengarungi tiga zaman: yaitu di masa reformasi, di masa Orde Baru berkuasa dan di masa Orde Demokrasi Terpimpin.
Identitas Dan Kenikmatan
“Heryanto memiliki kemampuan yang langka untuk mengaitkan analisa tajam atas ben tangan masalah media dengan pertanyaan-pertanyaan teoretis yang lebih luas da lam ka jian budaya.” (Profesor Krishna Sen, Dekan Fakultas Sastra-Budaya, The Uni versity of Western Australia) “Buku ini bukan hanya meneroka berbagai isu dalam masyarakat mutakhir, mulai dari islami sasi budaya kaum muda perkotaan hingga K-Pop, politik jalanan, minoritas Tiong hoa, dan representasi tragedi 1965-66, tetapi juga memperlihatkan kebertautan antar isu tersebut; dan bermuara pada problematisasi narasi-narasi besar se perti nasion dan nasionalisme, globalisme dan globalisasi, modernisme dan mo dern itas, yang se lama ...
Tak 'Kan Melupakanmu
Tak 'Kan Melupakanmu adalah kisah-kisah di seputar tragedi nasional pasca pemberontakan G 30 S di tahun 1965-1966 di Indonesia.
The Killing Season
The definitive account of one of the twentieth century’s most brutal, yet least examined, episodes of genocide and detention The Killing Season explores one of the largest and swiftest, yet least examined, instances of mass killing and incarceration in the twentieth century—the shocking antileftist purge that gripped Indonesia in 1965–66, leaving some five hundred thousand people dead and more than a million others in detention. An expert in modern Indonesian history, genocide, and human rights, Geoffrey Robinson sets out to account for this violence and to end the troubling silence surrounding it. In doing so, he sheds new light on broad, enduring historical questions. How do we account for instances of systematic mass killing and detention? Why are some of these crimes remembered and punished, while others are forgotten? Based on a rich body of primary and secondary sources, The Killing Season is the definitive account of a pivotal period in Indonesian history.
PALU & GODAM MELAWAN KEANGKUHAN
Tak bisa dipungkiri bahwa banyak dari para (keluarga) korban Peristiwa 1965-1966 di negeri ini yang masih menderita. Secara lahir maupun batin. Tak terkecuali di kota Palu – Sulawesi Tengah. Mereka terjerat dengan stigma yang membuatnya terpenjara di tengah kota. Mereka hidup, tapi seperti tak hidup karena Hak Asasi Manusia (HAM) mereka sejak lama terampas. Sebagian besar dari mereka tak lagi memikirkan politik. Baginya, urusan dasar HAM saja sudah sangat sulit mereka capai. Satu hal yang diperjuangkannya adalah rehabilitasi. Banyak di antara mereka yang sebenarnya bukan pelaku, tetapi terlanjur dihukum. Langkah berani dilakukan oleh Rusdy Mastura, penulis buku ini. Ia lawan ‘keangkuhan...
Killer Images
Cinema has long shaped not only how mass violence is perceived but also how it is performed. Today, when media coverage is central to the execution of terror campaigns and news anchormen serve as embedded journalists, a critical understanding of how the moving image is implicated in the imaginations and actions of perpetrators and survivors of violence is all the more urgent. If the cinematic image and mass violence are among the defining features of modernity, the former is significantly implicated in the latter, and the nature of this implication is the book's central focus. This book brings together a range of newly commissioned essays and interviews from the world's leading academics and documentary filmmakers, including Ben Anderson, Errol Morris, Harun Farocki, Rithy Phan, Avi Mograbi, Brian Winston, and Michael Chanan. Contributors explore such topics as the tension between remembrance and performance, the function of moving images in the execution of political violence, and nonfiction filmmaking methods that facilitate communities of survivors to respond to, recover, and redeem a history that sought to physically and symbolically annihilate them
How Do We Look?
In How Do We Look? Fatimah Tobing Rony draws on transnational images of Indonesian women as a way to theorize what she calls visual biopolitics—the ways visual representation determines which lives are made to matter more than others. Rony outlines the mechanisms of visual biopolitics by examining Paul Gauguin’s 1893 portrait of Annah la Javanaise—a trafficked thirteen-year-old girl found wandering the streets of Paris—as well as US ethnographic and documentary films. In each instance, the figure of the Indonesian woman is inextricably tied to discourses of primitivism, savagery, colonialism, exoticism, and genocide. Rony also focuses on acts of resistance to visual biopolitics in film, writing, and photography. These works, such as Rachmi Diyah Larasati’s The Dance that Makes You Vanish, Vincent Monnikendam’s Mother Dao (1995), and the collaborative films of Nia Dinata, challenge the naturalized methods of seeing that justify exploitation, dehumanization, and early death of people of color. By theorizing the mechanisms of visual biopolitics, Rony elucidates both its violence and its vulnerability.
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