Jurnal komunikasi, ISSN 1907-898X Volume 6, Nomor 2, April 2012
Speak Out Your Films: When Asian Independent Film Festivals Send Messages to the World
Zaki Habibi
Dosen Program Studi Ilmu Komunikasi Universitas Islam Indonesia (UII), Yogyakarta
Abstract This article focuses on three independent film festivals held in three different countries in Asia. They are (1) Jeonju International Film Festival (JIFF) in Jeonju, South Korea, (2) Cinemalaya Philippine Independent Film Festival in Manila, The Philippines, and (3) Jogja-NETPAC Asian Film Festival (JAFF) in Yogyakarta, Indonesia. Multiple case studies is adopted to analyse the way in which these three independent film festivals are being organised, including the “messages” being circulated for their global audiences. The findings are analysed based on the conceptual framework that consists of three relevant concepts: film as cultural product, independent film festival, and cultural discourse. The conclusion shows that the three analysed film festivals offer an alternative way in film distribution, then demonstrate unconventional way of festival organising, and strengthening the power of community and its networks as the basis for the development of their festivals. Keywords: Film distribution, film festival, independent, community, case study
Abstrak Artikel ini menyoroti tiga festival film independen di tiga negara di Asia sebagai fokus studi. Ketiganya adalah (1) Jeonju International Film Festival (JIFF) di Jeonju, Korea Selatan, (2) Cinemalaya Philippine Independent Film Festival di Manila, Filipina,dan (3) Jogja-NETPAC Asian Film Festival (JAFF) di Yogyakarta, Indonesia. Kajian terhadap penyelenggaraan ketiga festival film independen tersebut dilakukan dengan mengadopsi pendekatan studi kasus berganda ( multiple case studies ). Pada tingkat analisis, seluruh temuan relevan dari ketiganya ditelaah lebih jauh melalui kerangka konseptual yang berbasis pada tiga sumbu, yakni film sebagai produk budaya, festival film independen, dan diskursus kultural. Muaranya, ketiga festival film di Asia ini ternyata menawarkan sistem alternatif dalam ranah distribusi film, lalu mempraktikkan cara yang tidak konvensional dalam mengelola sebuah festival, serta mendayagunakan komunitas dan jejaringnya sebagai basis pengembangan masing-masing festival tersebut. Kata Kunci: Distribusi film, festival film, independen, komunitas, studi kasus
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Introduction The Methodology
Most major international film festivals, This study generally adopts the both in the United States (US) and case study as its method. The study Europe, have considerable contributions focuses on three film festivals in different to film distribution around the world. This countries in Asia, and it leads to “multiple- is the part of cinema mechanisms in terms case studies” as the specific method of film as the industry where film festivals applied here because there are three boost the scope of distribution and different unit analyses with a few basic increase the income for cinema industry similarity in one hand and several while, at the same time, create the significant differences on the other hand standards of aesthetic values and qualities. (Yin, 2003: 46). The method used here, This notion, however, is not the main then, generates the research report by motivation for several film festivals in applying “replication logic” (Yin, 2003: Asia. There are many Asian film festivals— 47) to reinforce the findings and construct organised by Asian committees in Asian the conclusion. This essay as the report is countries—that are dedicated for other presented in a logical order, started by a motivations rather than economic interest concise explanation of the conceptual in regard to industrial objectives. This framework, a brief description of each kind of film festivals, then, can be simply festival, the main characteristics, the recognised as the independent film comparison among them in terms of its festivals. history (establishment motivation), the
The Asian independent film goal, the type of films that have been festivals provide the alternative way of screened, the supporting events (the film distribution, offer the unconventional fringes), the people behind the screen (the system on managing a film festival, and organisation and the management empower the strength of community as a system), the funds (the event supporters), new basis of its development. This is the the socio-political and cultural position in main thesis of the essay that encourages the country where it is held, and the several follow-up questions: how do they impacts towards the cinema development manage the festivals? Why does this and cultural discourses. system influence the motivations beneath The three analysed film festivals every event and affect the cinema are (1) Jeonju International Film Festival development both locally and (JIFF) held in Jeonju, South Korea; (2) internationally? Cinemalaya Philippine Independent Film
Festival held in Manila, the Philippines; and (3) Jogja-NETPAC Asian Film Festival
(JAFF) in Yogyakarta or Jogja, Indonesia. 122
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The main reason regarding these chosen 16, 2005) 1. First , it is a form of arts that film festivals is because all of the three represents the artists’ expressions in countries have a long history of cinema regard to their views about giving meaning industry that create complex to their life and also to the world where circumstances and emerge diverse film they live in. The term artist here usually styles and filmmakers. On the other hand, refers to the filmmaker. Second , film can all of the countries demonstrate different be understood as a medium of conditions in regard to the film communication, specifically as a mass development, world recognition to their media. The relation and meaning cinema, and cultural discourses they construction between its creator and constructed. According to these audience have considered film as a interesting conditions, these choices are significant medium in communication made as the basis for the further analysis processes. The third is film as a cultural of this study. product. Since a film is produced with
intention to be shown to others, this leads film to a wider discussion in terms of The Conceptual Framework cultural matters. Film has been There are three relevant concepts distributed and shown to others either in used in this research; film as a cultural mass consumption style or in a specific product, independent film festival, and community only. The process of dialogue cultural discourse. The linkage among between film (as cultural text) and the these concepts constructs a conceptual people, then, tends to give considerable framework as the approach to analyse the impacts to these people and also to the findings collected throughout the study. development of cinema itself. At this The conclusion, then, is integrated based on an in-depth interpretation using this 1 Riri Riza is one of Indonesian acclaimed film conceptual framework regarding the directors. His works, for example, Kuldesak [Cul- de-sac] (released in 1998), Petualangan Sherina comparison of the three film festivals. A [The Adventure of Sherina] (2000), Eliana, Eliana (2002), Gie (2005), 3 Hari untuk Selamanya [3 brief explanation relating to the concepts Days for Forever] (2007), Laskar Pelangi can be seen below respectively. [Rainbow Squad] (2008), and Sang Pemimpi [The Dreamer] (2009), have become Indonesian box office and invited constructive critics in terms of alternative film genre and new hope of Indonesian 1. Film as a Cultural Product cinema. He is also a film activist, the co-founder of Masyarakat Film Indonesia (the Indonesian Film Society), that fight for freedom of expression and Film, in general context, can be distribution in Indonesian film industry and, also, seen as “three important subjects” (Riri promoting the replacement of strict censorship with film classification. The personal communication Riza, personal communication, November quoted here is based on my interview with him after he finished his speech in a seminar in Surabaya, East Java, Indonesia on November 16, 2005. 123
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point, film has become a text within already had a long history as well as in the context that no longer put film as a form US and Europe. For instance, South Korea of the arts only, or a communication had their first “movie house” in 1906 and medium, but also has important first Korean movie production in 1919 contribution in culture. (Lent, 1990: 124) while Philippines began
to screen a foreign movie on 1 January 1897 then establishedthe Board of 2. Independent Film Festival Censorship for Cinematographic Films in The discussion about independent 1911 and produced their own feature film film festival should be based on the in the following year (Lent, 1990: 150). A broader meaning of independent in similar condition has also taken place in cinema itself. It is started with the Indonesia where they hadits first feature meaning of independent film or film production in 1926 called Loetoeng independent cinema. Blandford, Grant, Kasaroeng (Lent, 1990: 203). Despite and Hillier (2001: 131) explain that these long history, however, the cinema ‘independent’ in cinema has various industry in these three Asian countries is meanings. However, the similarity of these operated in different way with what diverse meanings is the way in which developed in the US and Europe. There is filmmakers or the people behind the no major studio system because films are filmmaking process do not depend upon produced based on the producer team or “major studio system” in terms of filmmaker initiatives. The system that can production management, budgeting, and be called as the mainstream cinema in distribution (Blandford,Grant, and these Asian countries is the film industry Hillier,2001: 131). In the US, ironically, that operates on a big budget supported by after the 1980’s several independent either government or private investors filmmakers or producers being supported then nationally distributed through main by major studios, especially their film theatre networks in a monopolistic or distributions. In the European countries oligarchic system. such as the UK and France, the In general, the independent independent films have their specific place movement in these three respective for screening called “art house” that countries appears since the 1990’s in order mostly shows art films or non-mainstream to oppose this monopolistic or oligarchic cinema that produced independently practice. Besides, the movement also takes (Blandford,Grant, and Hillier, 2001: 14). place to raise public awareness that film is However, the situation occurs in a public domain that has its socio-cultural Asian countries is completely different. context rather than just an economic Indeed, the cinema industry in Asia has commodity. The independent films
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Zaki Habibi , Speak Out Your Films: When Asian Independent Film Festivals Send Messages to the World produced in these Asian countries also that “the concept of discourse is still represent the movement of younger widely deployed, although discourses are generation especially that offer an no longer treated as autonomous systems alternative system for building the cinema of scientific statements, but the products industry in the country. of power relations and forces that form
These young independent them”. In other words, Foucauldian filmmakers and producers need another discourse is determined by “social distribution system due to the limitation practices and the way they in turn shape for screening their works in so-called social relationships and institutions” mainstream theatres. The film festival, (cited in Howarth, 2000: 8). then, is seen as a good solution to gain I adapt the “political discourse” appreciation from broader audience. The introduced later by Foucault to be re- film festivals held in such purpose are also formulated into cultural discourse to managed and funded independently to interpret the cultural position and promote alternative films and develop meaning construction caused by the three wider appreciation about the Asian independent film festivals. As unconventional cinema in terms of the Foucault says, scientific discourse that genre and production-distribution system. become his first study to seek how Thiskind of film festivals—emerged in discourses are shaped has turned into South Korea, Philippines and Indonesia— further examination where “the way in are called as the independent film which political practices modify and festivals. transform the rules of formation of
scientific discourse (cited in Howarth, 2000: 60-61). Thus, “Foucault stresses the 3. Cultural Discourse way discourses partly form social The third concept that functions as relations, identities, and social objects” the unique identification of the subjects of (Howarth, 2000: 81). By this I mean, the this multiple-case studies is cultural role of these film festivals in terms of discourse. This concept is a further constructing the cultural context in each adaption of “discourse” that is mainly country has a similar form to the proposed by a French historian and formulation process of discourses. In philosopher, Michel Foucault. David other words, it leads to another concept Howarth (2000: 67) who writes an called the cultural discourse. exhaustive study about the theory of discourse describes Foucault’s thought
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Figure 1. The Conceptual Framework
The Film Festivals, Stories from has 630,000 inhabitants is also a famous Three Asian Countries city due to their traditional Korean foods
1. Jeonju International Film and artists (Sasono, 2010a).The festival Festival (JIFF) takes place in four separated theatres, Megabox, CGV, Jeonju Cinema Town, and JIFF is held in Jeonju, known as a Chonbuk University. The first three are cultural city in Jeollabuk-do province, located in a same street named Cinema located in the north part of South Korea. Street. All major events whether the film The JIFF Committee has been conducting screening or any additional events such as this festival since 2000, and the festival music performances and film market are usually takes place in the spring for a situated in this street. whole week. The 12 th JIFF was held from 29 April 2011 to 5 May 2011. Jeonju that
Figure 2. The Cinema Street in Jeonju, South Korea (Sasono, 2010a)
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JIFF is not a big festival as Overview”, 2011). The Festival Chairman, compared to Busan International Film Ha-jin Song, and the Festival Director, Festival in Busan, South Korea. However, Byung-lock Min, say that by promoting JIFF is a considerable film festival JDP and JPM as JIFF’s unique especially because of its focus in giving a programmes they want to sustain JIFF major role for “independent and position as a film festival that addresses experimental films” mostly made by young the “flow and changes in the film industry” filmmakers from around the world by maintaining this distinctive film (Sasono, 2010a). Eric Sasono, a film critic production and distribution system (Song who was appointed as one of the juries in and Min, 2011). In their words, this effort JIFF 2010, says that this festival provides is another way to reinforce JIFF’s role “as a wide opportunity for “aesthetic one of the most important film festivals in breakthroughs in cinema, obscure cinema Asia and a window of independent and and experimental filmmaking” (2010a). experimental films around the world” Based on this vision, JIFF (Song and Min, 2011). promotes its well-known programmes Besides, JIFF has a competition called Jeonju Digital Project (JDP) and programme that usually consists of 10 to Jeonju Project Market (JPM). JDP is a 12 films that have been chosen by festival yearly funded project by JIFF Committee programmers. They do not distinguish and for three filmmakers around the world categorise these films according to genre, who are challenged to produce an for example, so there is no strict unconventional digital video project. JDP classification between feature fiction film is a leading project in JIFF that provides and documentary. What they are looking 50 million Korean won (approximately US for is a new and insightful exploration in $50,000) for supporting the production of terms of cinematic approaches and three digital video projects in 30 minutes presentations rather than common regular length of each film (Sasono, 2010b). achievements.
Meanwhile, JPM is a film market session that seeks and supports the 2. Cinemalaya Philippine Korean independent films both feature Independent Film Festival fiction films and documentaries to be distributed and screened in a broader The next film festival analysed here opportunity. The programme also is Cinemalaya Philippine Independent promotes these Korean productions to the Film Festival (hereafter called international market “as well as exploring Cinemalaya). The festival that is held in the possibilities of distribution in Korea the capital city of Philippines, Manila, has for outstanding film from overseas” (“JPM been running for the last seven years
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(until 2011). Cinemalaya takes place in the revitalise “the Philippine filmmaking by Cultural Centre of the Philippines and is developing a new breed of Filipino held for nine-day long every July. filmmakers” (Cinemalaya, n.d.). The
According to the organising committee selects and grants ten young committee, the aim of this festival is “to Philippine talents to make their feature encourage the creation of new cinematic films, then, their works will be screened works by Filipino filmmakers” and also to and competed within the festival.
Figure 3. Cinemalaya crowded by the audience
Apart from this screening (Cinemalaya, n.d.). The Foundation has a programme, Cinemalaya conducts the main core in helping and assisting the fringe or other film-related events, such as “production of cinematic works of Filipino “the Cinemalaya Film Congress, a two-day independent filmmakers that boldly conference that looks at all aspects of articulate and freely interpret the Filipino independent filmmaking and distribution; experience with fresh insight and artistic the Cinemalaya Sine Taktakan, a forum integrity”, while also giving assistance to with the year’s batch of new Cinemalaya the process of “discovering, encouraging, filmmakers”; and other art events supporting, training, and recognising (Cinemalaya, n.d.).Cinemalaya is gifted Filipino independent filmmakers organised and supported by The and to promote Filipino independent films Cinemalaya Foundation that defines them locally and internationally”; they also as “a non-stock, not-for-profit, non- provide opportunity to develop “a network governmental foundation who committed for exchange, communication and to the development and promotion of cooperation among members of the Philippine Independent film”
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Zaki Habibi , Speak Out Your Films: When Asian Independent Film Festivals Send Messages to the World independent film sector” (Cinemalaya, Cinema (NETPAC), and film communities n.d.). in Yogyakarta or commonly called Jogja,
Indonesia, in 2006 (Network for the Promotion of Asian Cinema [NETPAC], 3. Jogja-NETPAC Asian Film n.d.). This tripartite Festival (JAFF) collaborationorganises an annual Asian- JAFF was a collaborative initiative scaled film festival in Jogja, a cultural between an Indonesian critically province and also the second famous acclaimed director, Garin Nugroho, tourism attraction in Indonesia after Bali. Network for the Promotion of Asian
Figure 4. A volunteer put a daily bulletin during the first event of JAFF in 2006 (Source: personal collection)
The main aim of this film festival is August 7, 2006) 2.JAFF has several to promote Asian cinema both in Asia and programmes, such as Asian Feature (main the world. On the other hand, this is also a Asian film competition), Light of Asia festive moment for all film communities in (short film competition), Public Lecture Indonesia whether they are filmmakers, (series of film-related seminar and critics, or moviegoers. The Festival workshop), Jogja Camp (a film community President, Garin Nugroho, labels this forum) and several collaborative events event as “when-a-moment-of-creation with many local organisations in this city meets the-moment-of-appreciation” (Garin Nugroho, personal communication, 2 The personal communication quoted here based on an interview with Garin Nugroho, a few hours before the opening of the first JAFF on August 7, 2006 in Yogyakarta (Jogja), Indonesia. 129
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(Jogja-NETPAC Asian Film Festival comparison is a further step of this [JAFF], n.d.). multiple-case study. The comparison can
be seen in the table below.
Findings and Analysis: Significant Features and the Comparison
The facts from all film festivals can be compared one to another. This
Table 1. The Comparison of Three Asian Independent Film Festivals
JIFF Cinemalaya JAFF No. Aspects (South Korea) (Philippines) (Indonesia) 1 Year of • 2000 • 2004 • 2006 establishment 2 The goal • Cinematic exploration • Supporting local • Promoting Asian (the main and experimentation independent cinema character) cinema 3 Type of films that • International • National • Regional (Asia) have been screened • Experimental and • Filipino • Asian cinema both obscure films independent fiction and films documentary films, as well as feature and shorts. 4 The fringes • Music performances • Seminar • Seminar & workshop (supporting events) • Film market • Art exhibition • Community forum • Art performances 5 Organisation and • Well established • A well • Though already have people behind it organising and established foundation called managing committee foundation (The Yayasan JAFF, the Cinemalaya organising and • Supported by many Foundation) managing committee young volunteers are based on film community initiatives • Supported by many young volunteers 6 The funding • Self-funded (by • Foundation fund • Self-funded (by sponsorships) plus sponsorships) sponsorships 7 The “position” in • Independent and be • Independent and • Independent and be the country positioned as the be positioned as positioned as the “second class” festival the “second “second class” festival class” festival 8 Comparison with • Busan International • Cinemanila • Festival Film Indonesia so-called the “first Film Festival in Busan International (FFI) class” festival in Film Festival in • each country Manila Jakarta International Film Festival (JiFFEST) in Jakarta
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Based on these facts and the Forum programme) as a meeting point for comparison mentioned above, the level of independent filmmakers, their films, and analysis now reaches the next step in the appreciators. The depot not only deal which to seek the meaning beneath these with film transactions by selling DVD or phenomena (cases) through the copyright of film screening, but also conceptual framework described earlier. concerns with forum of discussions At first , film as a cultural product. All film especially to develop a further festivals demonstrate the same collaborative work among participants circumstance in terms of positioning film and any other young filmmakers or not as an economic commodity. Although moviegoers.
there is a film market programme in JIFF, Secondly , though the main goal, for example, the meaning of the term the characteristic, and the organising ‘market’ here is not in the same sense as system of these three film festivals are shown as in the European or North relatively different, there is still one American major film markets. Rather than similar condition. All of these festivals operatinglike a meeting point for work in an independent system in terms of producers, distributors and buyers, this organising, funding,andorientation. By event is more likely to be an initiation for taking this position, actually, they do not young promising talents in local cinema in demonstrate a lack of capacities or order to be heard and to be considered in supports. This is a role that they a broader cinema industry. intentionally take part in because they still The programme is more likely as a have the ideology regardless their festival breakthrough to re-shape the so-called scale, the aim, and the films or mainstream cinema industry that mostly participants. This ideology could be giving considering profit as the main motivation chance to younger generation, celebrating of film distribution and film screening. By the spirit of community, indulging viewers this festival, the committee and the (audience), promoting specific cinematic participants eagerly challenge the cinema genres (experimental and obscure),and industry especially in South Korea to think focusing on cultural entity (Asian cinema).
about the wider meaning of film: no This ideology leads to the third longer as en economic commodity only, concept: cultural discourse. The but also has significant role in the socio- organisers realise that the festival they cultural lives and even political one. This organised would be compared to other phenomenon also emerges in Jogja where bigger festival in each country. However, it JAFF develops a sub-programme called is something that they pay no attention Film Depot (a part of the Community 131
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to. 3 The notion of competition among Besides, all these elements show festivals is not like the film competition another finding especially regarding an within a festival itself. There is no such alternative film distribution system competition between one to another promoted in these independent film festival. Instead, they collaborate in some festivals. Film distribution commonly additional events during the festival or describes as “the sector of the film after the festival to promote the films and industry responsible for getting films the following festival. For instance, JAFF actually shown in cinemas” or being works together with other film festivals in publicly exhibit (Blandford, Grant, and Indonesia, such as Jakarta International Hillier, 2001: 72). They continues(2001: Film Festival (JiFFEST), Festival Film 72), “predictably, worldwide distribution Dokumenter (Documentary Film Festival), is predominantly US-based, dominated by and also with several film communities a small number of companies— like Konfiden, Kampung Halaman, and Paramount, Warner, Walt Disney, Rumah Sinema. These collaborative works Twentieth Century-Fox, Sony-Columbia occur during the festival as workshops or and Universal”. However, these three seminars and, also, after the festival as Asian film festivals show the importance road show for screening selected films in of another system in film distribution that many universities or communities around should provide equity to all genres, all the country. By this I mean, they perceive cinematic styles, and especially to a that film should reach many people; not younger generation of filmmakers. This only to whom that have concern on art system will complement another and a part of the ‘knowledge authorities’. alternative system that has been predicted They believe that cinema is a public by Blandford, Grant, and Hillier(2001: 73) domain that can reflect our lives, even who claim that “distribution today extends constructs our hopes and dreams. In other beyond theatrical release and newer words, they have demonstrated what distribution windows … currently digital Foucault says about the latest technology is opening up new possibilities development of discourse when “power for movies-on-demand in the home as well and knowledge are joined together” (cited as DVD”. The system indicated by these in Howarth, 2000: 67). three Asian film festivals also addresses concern in monopolistic and oligarchic film distribution, especially in Asian countries. An Indonesian senior 3 One person who supports this statement is Ajish Dibyo, the Coordinator of JAFF. As one of festival journalist, Rosihan Anwar—who just programmers he says this statement in some passed away on 14 April 2011—describes occasions both in formal speeches during the festival and several informal interviews with author the mainstream film distribution in (2006-2010). 132
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Indonesia as “a jungle where there are no Finally, these Asian independent rules, where everyone has to fend for film festivals have already provided an himself” (cited in Lent, 1990: 209). Now alternative way of film distribution that his worry can be tackled step by step challenges the mainstream system. They withthe strategythat has been have also offered an unconventional demonstrated by these independent film system on managing a film festival by self- festivals along with the young filmmakers funded and voluntary supporting with and viewers. promoting specific ideology. Theyhave
empowered the strength of community as a new basis of its development either Conclusion demonstrated by young filmmaker It is clear that an optimistic view communities or appreciative-and-open- should be raised considering what have minded audience. been shown in this multiple-case study on three Asian independent film festivals, JIFF in South Korea, Cinemalaya in Philippines, and JAFF in Indonesia. The notion to upraise this optimism is located References in the new hope of new generation in Blandford, Steve, Barry Keith Grant, and Asian cinema in terms of creator Jim Hillier. 2001. The Film Studies (filmmakers) and appreciator (audience). Dictionary . London: Arnold. Sasono (2010a)tells a story based on his conversation with JIFF programmer, Yoo Cinemalaya. n.d. “Cinemalaya: About Us”. Eun-Song, who describes that in 2009 no Accessed on 7 March 2011, less than 50,000 audiences mostly the http://www.cinemalaya.org/about youths from Jeonju and any other cities in _partners.htm Korea attended the festival, while in 2010 Howarth, David. 2000. Discourse . there were 80,269 tickets sold that created Buckingham: Open University 83 per cent of seat occupancy. The new Press. generation of Korean and the world Jogja-NETPAC Asian Film Festival cinema are created in Jeonju through JIFF [JAFF]. n.d. “JAFF: About Us”. due to their focus on digital technology, Accessed on 7 March 2011, cinematic explorations, and appreciation http://jaff-filmfest.com/about-us to audience (Sasono, 2010b). The similar JPM Overview. 2011. Accessed on 7 March condition also takes place in Philippines 2011, and Indonesia. http://eng.jiff.or.kr/c30_market/1 0_overview.asp 133
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Lent, John A. 1990. The Asian Film Sasono, Eric. 2010c. “Fokus dan Revolusi: Industry . London: Christopher Catatan III dari 11 th Jeonju Helm. International Film Festival 2010
Network for the Promotion of Asian [Focus and Revolution: Third Note th Cinema [NETPAC]. n.d. “About from the 11 Jeonju International NETPAC” .Accessed on 7 March Film Festival 2010]”. Accessed on 2011, 28 February http://www.netpacasia.org/(S(dpp 2011,http://new.rumahfilm.org/ar mliix40fma23t12rsvyup))/about.as tikel-feature/fokus-dan-revolusi- px catatan-iii-dari-11th-jeonju- international-film-festival-2010/ Sasono, Eric. 2010a. “Festival Buat Penonton?: Catatan I dari 11 th Sasono, Eric. 2010d. “Bakat Baru Film th Jeonju International Film Festival Korea: Catatan IV dari 11 Jeonju 2010[A Festival for Audience?: International Film Festival First Note from the 11 th Jeonju 2010[New Talents in Korean th International Film Festival 2010]”. Cinema: Fourth Note from the 11 Accessed on 28 February 2011, Jeonju International Film Festival http://new.rumahfilm.org/artikel- 2010]”. Accessed on 28 February feature/festival-buat-penonton- 2011, catatan-i-dari-11th-jeonju- http://new.rumahfilm.org/artikel- international-film-festival-2010 feature/bakat-baru-film-korea- catatan-iv-dari-11th-jeonju- Sasono, Eric. 2010b. “Rumah bagi Sinema international-film-festival-2010 Obskur: Catatan II dari 11 th Jeonju International Film Festival 2010 [A Song, Ha-jin, and Byung-lock Min. 2011. House for Obscure Cinema: Second “Overview JIFF 2011”. Accessed on Note from the 11 th Jeonju 7 March 2011, International Film Festival 2010]”. http://eng.jiff.or.kr/a10_jiff/01_s Accessed on 28 February 2011, ummary.asp http://new.rumahfilm.org/artikel- Yin, Robert K. 2003. Case Study feature/rumah-bagi-sinema- Research: Design and Methods. 3rd obskur-catatan-ii-dari-11th-jeonju- ed. California: Sage Publication.
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