By David Hanan
This booklet explores ways that assorted neighborhood cultures in Indonesia and their histories were expressed in movie because the early Fifties. It additionally explores underlying cultural dominants in the new country, verified on the finish of 1949 with the success of independence from Dutch colonialism. It sees those dominants—for instance varieties of crew physique language and types of consultation—not easily as a made of the country, yet as regarding special and lengthy status formations and traditions within the a number of societies within the Indonesian archipelago, on which the state is predicated. however, the e-book isn't involved purely with prior traditions, yet explores ways that Indonesian filmmakers have addressed, significantly, targeted points in their conventional societies of their characteristic movies (including from time to time the social place of women), linking earlier to the current, the place correct, in dynamic methods.
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Additional resources for Cultural Specificity in Indonesian Film: Diversity in Unity
For a succinct account of the later Guided Democracy period and its culmination in the liquidation of the left, see Ricklefs, A History of Modern Indonesia, Chapter 20. 38 D. 29 In December 1957, anti-Dutch sentiments resulted in the takeover by workers of Dutch enterprises in Indonesia. Nasution, using his powers under martial law, determined that these enterprises would henceforth be managed by the army, thus giving an assured financial basis for increased army power and corruption. Earlier, in February 1957, Sukarno had announced his cherished proposal for a ‘Gotong Royong Cabinet’, where the nation would be governed at cabinet level by representatives of major political parties and by representatives of functional groups—workers, peasants and intellectuals.
But even the short analysis I have given of aspects of the film indicates numerous core plot elements, cultural features and political dimensions that are not in the play Romeo and Juliet. Indeed similarities with the Romeo and Juliet story only commence about halfway through the film with the entry of Mendut’s future lover, Pronocitro, the first half of the story outlining an entirely different situation from that in Romeo and Juliet, so that the elopement is a kind of denouement. Moreover, Romeo and Juliet is an English play, which is itself 25 This comment is made about the film in The Oxford History of World Cinema in a caption—apparently written by editorial staff—for a still of the film.
Neo-traditionalism: Film as popular art in India. Framework 32–33: 20–67. Solanas, Fernando, and Octavio Getino. 1976. Towards a Third Cinema. In Movies and methods, vol I, ed. Bill Nichols, 44–66. Berkeley/Los Angeles: University of California Press. Vasudevan, Ravi. 2011. The melodramatic public: Film form and spectatorship in Indian cinema. New York: Palgrave Macmillan. Warren, Carol. 1993. Adat and Dinas: Balinese communities in the Indonesian State. Kuala Lumpur: Oxford University Press. 1985.