By Katinka Heeren
This hugely informative e-book explores the realm of Post-Soeharto Indonesian audio-visual media within the exiting period of Reform. From a multidisciplinary strategy it considers a large choice of concerns similar to mainstream and substitute movie practices, ceremonial and self reliant movie gala's, movie piracy, heritage and horror, documentary, tv soaps, and Islamic motion pictures, in addition to censorship from the country and road. throughout the standpoint of discourses on, and practices of movie construction, distribution, and exhibition, this ebook provides an in depth perception into present problems with Indonesia’s social and political state of affairs, the place Islam, secular realities, and ghosts off and on display, mingle or conflict. [C:\Users\Microsoft\Documents\Calibre Library]
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Extra info for Contemporary Indonesian Film: Spirits of Reform and Ghosts From the Past
These debates are related to divergent worldviews derived from religious and secular realities. They are part and parcel of the struggle about who and what shapes and decides on national popular discourse and what realities are included in modern Indonesian society. It must be noted that quite a few developments in the practices and discourses of Indonesian audio-visual media are not unique. The content, style, and formulas of narratives to be found in Indonesian horror and history ﬁlms, documentaries, infotainment, quiz shows, or reality TV programmes appear worldwide.
Consequently, the state’s endeavour to control the unruly mobile cinema through sweeping policies and discourses on media, ﬁlm formats, and places of exhibition, 28 ‘Kelompok 21 alami kerugian, televisi dianggap sebagai penyebab’, Pikiran Rakyat, 29-81996. 39 | Contemporary Indonesian film was hindered by the new video format, which emerged as a new ‘uncontrollable’ medium, disrupting everything all over again. exhibition and consumption: film festivals as forums for national imaginations and representations In the ﬁrst and second sections, I highlighted mediation practices in ﬁlm production and distribution.
In Chapter 2, I draw on Shohat and Stam’s 20 Introduction | theory (2004) of ‘media jujitsu’ with regard to pirated films. In Chapter 5, I expand on Anderson’s concept (1983) of the novel and newspaper as a form of imagining and as a technical means, probing to what extent a film genre can be seen to ‘re-present’ elements of what constitutes the nation. Apart from exposing or applying Indonesian voices and premises in Indonesian film and media discourses, and raising or modifying existing theories to compare or explain the Indonesian setting, I added two new concepts to media discourse analysis theory to assess the particulars of the Indonesian situation.