Self-identity is never a sure thing in Edwin’s short films. It is absolutely relative and rewritten perpetually through every social interaction. This is important when one considers that throughout Suharto's Orde Baru, whose political imagination is still felt to this very day, many films tried to internalize the idea of what and who is an 'Indonesian' according to the ruling class’s interests.
National Superheroes Out of Work: Dealing with Indonesia’s Colonial Legacy through the Cinematic Superhero
Joko Anwar's Gundala (2019) marked the start of a cinematic universe in which superheroes from the Indonesian Bumilangit comics are translated to the big screen. Intriguingly, this trend has been reflected playfully yet thoughtfully years before in Wimar Herdanto's Gundah Gundala (2013), an independent production, in which local superheroes struggle to make a living amid the arrival of global superheroes in Indonesia.
The Indonesian film culture of 1970s and 1980s Malaysia is but one example of how cinema can transcend its national-cultural borders by sharing, exchanging and mobilising culture(s).
A number of intriguing phenomena can be observed in Indonesian film development throughout 2017. In terms of several indicators, such as the number of screens and audience, our cinematic landscape has grown. The number of films circulated in 2017, however, has seen a decline, albeit in an insignificant magnitude, when compared to 2016. Furthermore, if we see the decline of film circulation in 2017 in terms of audience segmentation, we could interpret the data positively.
We need to assess Indonesian cinema further beyond its economic achievements. The measurement needs to be expanded, as films not only serve as commercial commodities, but also as strategic components in cultural interactions. These two functions are inseparable and closely related to each other.
Sudewo, 54, has been a projectionist for 29 years, since the Keong Emas IMAX Theater was still under preparation. Established in 1984, Keong Emas was the largest theater in Southeast Asia in the 1980s with its 840 seats. During those years, Keong Emas was the darling and pride of Jakartans.
The weak position of film adaptations in contemporary discourse can be attributed to several factors, particularly low literacy rates and the corresponding market implications and an emphasis on literature as belles lettres rather than the popular literature from which most films were adapted.
Lab Laba Laba eschew digital technology. They work only with 8mm, 16mm, and 35mm film. Their practice, as it remains militantly dedicated to the filmic strip, reveals the difficulties and complexities of the manner and means in which cinematic technology is instrumentalised for political purposes.