By Katinka Heeren
This hugely informative publication explores the area of Post-Soeharto Indonesian audio-visual media within the exiting period of Reform. From a multidisciplinary process it considers a wide selection of concerns comparable to mainstream and substitute movie practices, ceremonial and autonomous movie gala's, movie piracy, heritage and horror, documentary, tv soaps, and Islamic movies, in addition to censorship from the country and highway. during the point of view of discourses on, and practices of movie creation, distribution, and exhibition, this e-book offers a close perception into present problems with Indonesia’s social and political scenario, the place Islam, secular realities, and ghosts off and on monitor, mingle or conflict. [C:\Users\Microsoft\Documents\Calibre Library]
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Additional info for Contemporary Indonesian Film: Spirits of Reform and Ghosts From the Past
14) to the Himpunan Artis Film dan Sinetron Indonesia (Hafsi, Indonesian Film and ‘Electronic Cinema’ Association) for a membership card, and another Rp 70,000 (US$ 5) for the costs of training. Producer Sonny acknowledged that it was mandatory for all aspiring actors to join Hafsi and obtain a membership card. 7 The initial plan to start the shooting of Provokator on 10 July 1999 was postponed so that the actors and actresses could be registered. 8 Around a month later shooting had still not commenced as there was now a ﬁfth hurdle to be faced.
The story of Provokator is about a girl who has an illegitimate son by a man of Chinese descent. After the child is born, he is placed in a foster home. As he grows up it appears that he is a very clever boy. Because of his intelligence he is sent to school abroad, but there he is taught to become a provocateur. No explanation of how this works is given. When the boy returns to Indonesia he is constantly engaged in acts of provocation, and at some point in the ﬁlm he will even rape his stepmother.
2. 21 ‘Perﬁki’, Harian Ekonomi Neraca, 19-5-1999. 22 For more details on the privatization of Indonesian television, see Sen and Hill 2000:111-3. 23 For details concerning the Subentra group creating a monopoly in ﬁlm distribution, see Sen 1994:58-62. 35 | Contemporary Indonesian film group began to invest heavily in the renovation of older theatres into new-style Cineplex cinemas, called Cinema 21. By 1989 the franchise (generally known as the 21 Group) owned 10% of the approximately 2,500 screens in Indonesia, and a much larger proportion of the top-quality theatres in major cities (Sen 1994:62).
Contemporary Indonesian Film: Spirits of Reform and Ghosts From the Past by Katinka Heeren