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World Competition
El Cuento de las Comadrejas - The Weasel's Tale 2019 | 129' | Spanish | Argentina | Spain | Colour Opening Film Director: Juan José Campanella Producer: Juan José Campanella, Gerardo Herrero, Axel Kuschevatzky Cast: Clara Lago, Oscar Martínez, Graciela Borges Screenplay: Juan José Campanella, Darren Kloomok Cinematographer: Félix Monti Editor: Juan José Campanella A beautiful star from the cinema Golden Age, an actor in the Sound Designer: José Luis Díaz twilight of his life, a witty scriptwriter and a cunning director Music Composer: Emilio Kauderer live together in a mansion where they have created an unusual environment. The arrival of a young couple seeking to Costume Designer: Cecilia Monti persuade the actress to sell the house, forces the other Production Designer: Nelson Noel Luty inhabitants to come together and conspire to prevent it. Production Company: 100 Bares, Tornasol, Jempsa World Sales: Latido films World Sales Phone: +34 915 488 877 World Sales Email: [email protected] Festivals: San Sebastian FF 2019, Ventana Sur 2019, IFFI 2019, Valladolid IFF 2019 Juan Jose Campanella (born July 19, 1959) is 2019 The Weasel's Tale an Argentinian film and television director. He 2014 Halt And Catch Fire has won 45 international awards for his work. 2009 The Secret In Their Eyes He is best known for writing and directing The Secret in Their Eyes, which won the Academy 2004 Moon Of Avellaneda Award for Best Foreign Language Picture. 2001 The Son Of The Bride Campanella mostly works on films in his native Argentina, and on television projects in the United States, where he went to film school. -
The Cultural Traffic of Classic Indonesian Exploitation Cinema
The Cultural Traffic of Classic Indonesian Exploitation Cinema Ekky Imanjaya Thesis submitted for the degree of Doctor of Philosophy University of East Anglia School of Art, Media and American Studies December 2016 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 1 Abstract Classic Indonesian exploitation films (originally produced, distributed, and exhibited in the New Order’s Indonesia from 1979 to 1995) are commonly negligible in both national and transnational cinema contexts, in the discourses of film criticism, journalism, and studies. Nonetheless, in the 2000s, there has been a global interest in re-circulating and consuming this kind of films. The films are internationally considered as “cult movies” and celebrated by global fans. This thesis will focus on the cultural traffic of the films, from late 1970s to early 2010s, from Indonesia to other countries. By analyzing the global flows of the films I will argue that despite the marginal status of the films, classic Indonesian exploitation films become the center of a taste battle among a variety of interest groups and agencies. The process will include challenging the official history of Indonesian cinema by investigating the framework of cultural traffic as well as politics of taste, and highlighting the significance of exploitation and B-films, paving the way into some findings that recommend accommodating the movies in serious discourses on cinema, nationally and globally. -
Marlina Si Pembunuh Dalam Empat Babak 93
TITRE ORIGINAL : Marlina si Pembunuh dalam Empat Babak ORIGINAL TITLE: Marlina si Pembunuh dalam Empat Babak 93 MIN/ Indonésie – France – Malaisie – Thailande / 2017/ FICTION/ COULEUR/ Indonésien, dialecte de Sumba/ DCP/ 24 FPS/ 2.39:1/ 5.1 93 MIN/ Indonesia – France – Malaysia – Thailand / 2017/ FICTION/ COLOR/ Indonesian, dialect from Sumba/ DCP/ 24 FPS/ 2.39:1/ 5.1 Attachées de presse /Press releases Vanessa Jerrom- 06 14 83 88 82 Claire Vorger- 06 20 10 40 56 [email protected] Synopsis Au cœur des collines reculées d’une île indonésienne, Marlina, une jeune veuve, vit seule. Un jour, surgit un gang venu pour l’attaquer, la violer et la dépouiller de son bétail. Pour se défendre, elle tue plusieurs de ces hommes, dont leur chef. Décidée à obtenir justice, elle s’engage dans un voyage vers sa propre émancipation. Mais le chemin est long, surtout quand un fantôme sans tête vous poursuit. In the deserted hills of an Indonesian island, Marlina, a young widow, is attacked and robbed for her cattle. To defend herself, she kills several men of the gang. Seeking justice, she goes on a journey for empowerment and redemption. But the road is long especially when the ghost of her headless victim begins to haunt her. www.asian-shadows.com | [email protected] 3 Sales & Festivals moi : je ne lui ai pas demandé de jouer le texte, mais juste de me montrer à quel point elle voulait le rôle. Pour le rôle de Markus, j’ai travaillé avec le comédien Egi Fedly sur mon premier film, et il était une évidence depuis le début. -
Fourth Southeast Asian Film Festival Returns with 20 Singapore Premieres – the Freshest and Most Compelling Cinematic Work Emerging from the Region
MEDIA RELEASE For Immediate Release Fourth Southeast Asian Film Festival returns with 20 Singapore premieres – the freshest and most compelling cinematic work emerging from the region 11 April (Friday) to 4 May (Sunday) 2014, Moving Image Gallery, SAM at 8Q 19 March 2014, Singapore – Featuring the region’s best contemporary art expressed via the moving image, the Singapore Art Museum (SAM) is proud to present the fourth Southeast Asian Film Festival (SEAFF). Organised by SAM, along with prominent film critic Philip Cheah, veteran arts administrator Teo Swee Leng and SAM curator Sam I-shan, this annual Festival puts the spotlight on Southeast Asia through the compelling contemporary visual art genre of film. This year’s festival will highlight 20 films created by both established and up-and-coming directors from across the region including Cambodia, Indonesia, Malaysia, Myanmar, Philippines, Singapore and Thailand. All the films will be making their Singapore premieres at the Festival, including four Asian premieres and one world premiere. Festival-goers from the region will explore some of the most urgent contemporary challenges facing this diverse and rapidly developing region through the lenses of the directors, from the religious sectarian conflict in Mindanao to cross-border migration between Myanmar and China, to the hardship of ordinary families and more. Visitors will also get a glimpse of life in turbulent regions across Asia through War is a Tender Thing by Adjani Arumpac, The Journey of the Stars into the Dark Night by Arnel Mardquio, Letters of Solitude by Gutierrez ‘Teng’ Mangansakan II and Ice Poison by Midi Z, that tell the stories of communities that live through adversity. -
4 Citizenship and Indonesian Ethnic Chinese in Post-1998 Films
Downloaded from <arielheryanto.wordpress.com> Citizenship and Indonesian ethnic Chinese in post-1998 films 71 Since 1998, we have seen a dramatic emergence of works that fill in this 4 Citizenship and Indonesian ethnic long-standing lacuna (see Cohen 2002; Samudera 2002; Allen 2003; Her yanto 2004a; Hoon 2004; Sen 2006). But we must quickly add that the Chinese in post-1998 films formal ending of the New Order that year is neither the sole nor the most important cause of the change. The racialized violence against the ethnic Ariel Heryanto Chinese in May 1998 (more to follow below) was a more important factor than President Suharto's resignation in triggering the trend. II!-what appears to be a response to the violence, a new recognition of Chinese Indonesians and their long history of civil predicaments has become one of the most popular features in contemporary literature, fine arts, and films. It must be noted that instead of simply filling a gap in the old category of 'official literature', the aesthetic configuration since'1998 has transformed Tan Peng Liang; 'The important thing is, when Indonesia gets its independence, the overall categorization. Banned literature is now widely available and and all of you occupy important positions in the government, never forget me. I reprinted. The disparaged 'pop' literature that circulates in the cultural want to live peacefully, no worrying, with my family'.J pages of newspapers and magazines has gained more'prestige and authority, (Sylado 1999: 360) making the distinction between popular and 'official' literature difficult or meaningless. Established writers have also published in these pop media. -
Transformasi Perjuangan Perempuan Dalam Ekranisasi Novel Athirah Karya Alberthiene Endah Ke Film Athirah Karya Riri Riza: Kajian Ekranisasi
TRANSFORMASI PERJUANGAN PEREMPUAN DALAM EKRANISASI NOVEL ATHIRAH KARYA ALBERTHIENE ENDAH KE FILM ATHIRAH KARYA RIRI RIZA: KAJIAN EKRANISASI SKRIPSI Untuk memperoleh gelar Sarjana Sastra Indonesia oleh Etik Tarina 2111414021 JURUSAN BAHASA DAN SASTRA INDONESIA FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI SEMARANG 2019 iii iv MOTO DAN PERSEMBAHAN Allah tidak akan memberikan keindahan yang sempurna tanpa didahului perjalanan terjal (Athirah) Persembahan: Skripsi ini saya persembahkan untuk: 1. Keluarga tercinta (Bapak, Mama, Arifin) 2. Almamater saya, Universitas Negeri Semarang v SARI Tarina, Etik. 2019. “Transformasi Perjuangan Perempuan dalam Ekranisasi Novel Athirah Karya Alberthiene Endah ke Film Athirah Karya Riri Riza: Kajian Ekranisasi”. Skripsi. Program Studi Sastra Indonesia, Fakultas Bahasa dan Seni, Universitas Negeri Semarang. Pembimbing: Suseno, S.Pd., M.A. Kata Kunci: perjuangan perempuan, ekranisasi, feminis, novel, film Dalam perkembangan kesenian juga sangat lumrah satu jenis kesenian mengambil kesenian lain sebagai sumbernya atau dikenal dengan istilah transformasi. Pada proses transformasi, media yang digunakan berbeda, sehingga akan menimbulkan perubahan. Pengubahan dari novel ke film atau bias disebut ekanisasi diharapkan mampu memberikan kesan dan pesan yang positif kepada penikmatnya. Fenomena ekranisasi tentu tidak lepas dari keterkenalan awal suatu karya. novel yang sukses tidak jarang menjadi pijakan awal bagi lahirnya film yang sukses juga. Hal itu sering menjadi acuan lahirnya kesuksesan baru suatu bentuk pengalihan, -
29Th Tokyo International Film Festival Announces Lineup for CROSSCUT
PRESS RELEASE September 21, 2016 29th Tokyo International Film Festival Announces Lineup for CROSSCUT ASIA #03: Colorful Indonesia Lovely Man Cado Cado: Doctor 101 About a Woman Three Sassy Sisters Fiction. Someone’s Wife in The Boat of Someone’s Husband Something in the Way Filosofi Kopi Following Diana Emma’ (Mother) After the Curfew The 29th Tokyo International Film Festival (TIFF) is just around the corner! We are pleased to announce the lineup for CROSSCUT ASIA #03: Colorful Indonesia. The third chapter of the CROSSCUT ASIA series, launched by the Japan Foundation Asia Center and TIFF in 2014 to showcase Asian films, now turns its attention to recent cinema from Indonesia. Known as a nation of “tolerant Islam,” Indonesia is made up of more than 10,000 islands and has regional cultural differences that make it the ultimate land of diversity. TIFF has been presenting outstanding Indonesian films, reflecting the nation’s diverse culture, since the 80’s. In this year’s focus, we will showcase 11 films, from the latest works by veterans to the unique, ambitious work of up-and-coming directors. In the showcase, we will highlight three films by Teddy Soeriaatmadja, whose provocative and powerful work is internationally acclaimed. Along with Soeriaatmadja’s so-called Trilogy About Intimacy, the lineup also includes such rising female directors as Nia Dinata, a pioneer in LGBT films, and Kamila Andini of the Mirror Never Lies. Please see the following pages for the full lineup. During the festival, guests from the films will attend the Q&A sessions and symposium. -
Reconfiguring Ideal Masculinity: Gender Politics in Indonesian Cinema
Reconfiguring Ideal Masculinity: Gender Politics in Indonesian Cinema Evi Eliyanah A thesis submitted for the degree of Doctor of Philosophy Australian National University February 2019 © Copyright Evi Eliyanah All Rights Reserved I declare that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Signed: 12 February 2019 Word Count: 77,081 Two roads diverged in a wood, and I— I took the one less travelled by, And that has made all the difference. Robert Frost, The Road Not Taken For Fadli. Thanks for being with me in travelling the less trodden path. Acknowledgements Praise to Allah, the Lord Almighty that I can finally get to the end of the tunnel. This thesis will never be in its final version without the constant support, confidence, and intellectually rigorous feedback and inspiration from my supervisor: Prof Ariel Heryanto. He was the one who convinced me that I could do a PhD, something previously unthinkable. He was also the one who convinced me to work in an area which I had never trodden before: masculinities. But, Robert Frost said that the road less travelled has ‘made all the difference’. It did and will always do so. My most sincere appreciation also goes to my two other highly supportive supervisors: Dr Ross Tapsell and Dr Roald Maliangkaij. Their confidence in me, intellectual insights and support have helped me build my self-confidence. They are just exceptionally kind and supportive. I would also like to thank Prof Kathryn Robinson for countless hours of fruitful discussion on masculinities in Indonesia and theories of masculinities. -
Title 映像は国民的悲劇をどう語り継ぐのか --インドネシア映 画における9月30日事件 Author(S) 西
映像は国民的悲劇をどう語り継ぐのか --インドネシア映 Title 画における9月30日事件 Author(s) 西, 芳実 CIRAS discussion paper No.91 : 伝承と国民の物語 --混成ア Citation ジア映画研究2019 (2020), 91: 34-44 Issue Date 2020-03 URL https://doi.org/10.14989/CIRASDP_91_34 Right © Center for Southeast Asian Studies, Kyoto University Type Research Paper Textversion publisher Kyoto University 映 像 は 国 民 的 悲 劇 をどう語り継ぐの か インドネシア映画における9月30日事件 西 芳実 ３） はじめに ヌル）が制作された 。『裏切り』は270分を超える大 作で、インドネシア共産党（PKI ）がいかにして人々 1945年の独立革命、1965年の９月30日事件、1998 を欺いて残虐なクーデター計画を実施し、これをスハ 年の民主化という国民的な政変を３度経験したイン ルトがいかに鎮圧したかが描かれる４）。『ジャカルタ ドネシアでは、映画は誰の物語を描くのかが問われ続 1966』はスカルノからスハルトへの権力移譲を示す けてきた。政変とは、統治者の交代にとどまらず、統 ３月11日命令書の正当性を示す物語となっている。 治原理や価値体系の転換を伴う。このため、政変前に 『裏切り』の脚本にはインドネシア国軍歴史センター 正しいとされた価値観が政変後に否定される。また、 長のヌグロホ・ノトスサント５）が参加し、ヌグロホが 政変ではしばしばその前後で同一社会の成員による 1968年に発表した国軍公認の正史６）を底本としたド 内戦状態が生まれる。このため、政変後の社会には殺 キュドラマとして制作された。公開された1984年に約 した側と殺された側の遺族や関係者がともに存在す 70万人の観客を動員したほか、全国の学校で繰り返し る状況が生まれる。これらの出来事は明らかに国民的 上映会が行われた。毎年９月30日に国営テレビ放送 な出来事であるが、それを記述しようとしたとたん 局のTVRIで放映され、民間テレビ局もこれに続いた。 に、誰の立場で語るのかが問われ、国民の物語として 2000年に行われたある調査によれば、1965年の事件 語ることの困難に直面する。 についてどこで学んだかという質問に回答者の90％が スカルノ大統領からスハルト大統領への政権移譲 映画と回答し、そのうち97％が『裏切り』を見たと回 をもたらした1965年の９月30日事件とその後の政治 答した７）。映画は長らく政権のプロパガンダに利用さ 過程は、多くの国民を巻き込む虐殺と大量逮捕を伴っ れ、政権が認める正史以外の表現が制限されてきた８）。 た。スハルト政権はこの一連のできごとを記録し記述 ３） これ以前は、９月30日事件に触れたインドネシア映画は陸軍イ する上で映画を活用した。 スラム精神センターの資金で制作された『Ｘ作戦』（Operasi X、 1968年、ミスバ・ユサ・ビラン）のみだった［Sen 1988］。『Ｘ作 スハルト政権下においてインドネシア映画はイン 戦』ではPKIの地下組織に潜入した陸軍中尉が恋人を誘拐され ドネシア全域に配給されるインドネシア語による映 る妨害にあいつつも、地下組織のせん滅と恋人の解放に成功す １） る。９月30日事件に関する映画の制作が1980年代に始められ 像メディア であり、スハルト大統領の出自の正統 た背景として、センは、9月30日事件で収容されていた政治犯 -
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Jurnal Ekonomi dan Bisnis, Volume 24 No. 1 April 2021, 27 - 46 Jurnal Ekonomi dan Bisnis Journal homepage: www.ejournal.uksw.edu/jeb ISSN 1979-6471 E-ISSN 2528-0147 Creativity and its paradoxes: How the Indonesia movie industry can survive Elvy Maria Manurunga*, Daniel Daud Kameob a Faculty of Economics, Parahyangan Catholic University, Bandung, Indonesia; [email protected]* b Faculty of Economics and Business, Satya Wacana Christian University, Salatiga, Indonesia; [email protected] ARTICLE INFO ABSTRA K Article History: Kreativitas adalah motor penggerak ekonomi dunia saat ini. Received 03-02-2020 Bisnis yang tidak bisa mengejar ketinggalannya dalam kreativitas Revised 28-03-2020 yang mewujud pada teknologi dan inovasi, sangat mungkin Accepted 19-01-2021 terhempas dan tidak mampu bersaing lagi. Industri film yang Kata Kunci: sarat dengan kreativitas memperlihatkan tegangan-tegangan dan kreativitas, paradoks, situasi dilematis dari masa ke masa. Di satu sisi kreativitas sangat mengelola kreativitas, proses diperlukan untuk menghasilkan produk budaya yang berkualitas bisnis, industry film tinggi, namun di sisi lain komersialitas dan bisa diterima pasar menjadi kebutuhan dan syarat untuk tetap eksis. Penelitian ini Keywords: ingin mengeksplorasi industri film di Indonesia dari sisi creativity, paradoxes, kreativitas sekaligus komersialitas dan hubungannya dengan managing creativity, business process, movie industry paradoks kreativitas, sesuatu yang belum dilakukan oleh penelitian-penelitian sejenis sebelumnya. Penelitian dilangsungkan pada tahun 2015-2017 dengan menggunakan metode grounded. Industri film Indonesia dipilih sebagai studi kasus. Sejumlah wawancara dengan pembuat film (produser) dan penonton, serta focus group discussion dengan para ahli di bidang film dan budaya, telah dilakukan. Hasilnya menunjukkan bahwa pembuat film harus mengenal situasi paradoksal ini dan mengelola kreativitasnya pada proses bisnis yang ia tekuni dengan lebih baik. -
Potret Yogyakarta Dalam Dunia Film Indonesia
SENI BUDAYA YOGYAKARTA VOLUME XI NOMOR 3/2016 Potret Yogyakarta dalam Dunia Film Indonesia SENI BUDAYA YOGYAKARTA VOLUME XI NOMOR 3/2016 EDITORIAL 2 Yogya dan Mimpi Film Indonesia JENDELA 4 Membaca Pemikiran dan Nilai Film di Indonesia 14 Potret Yogyakarta dalam Dunia Film Indonesia 24 Denyut Palu Arit dalam Pita Seluloid 32 Ketika “Bangkong” Menyingkirkan Krugers 36 From Jogja With Film Foto: Tim Dokumentasi Fourcolour Films. Keterangan: Potret salah satu scene pada film “Semalam Anak Kita Pulang” (2015). 38 SKETSA Puisi-Puisi Penanggungjawab Umum Redaktur Diterbitkan oleh Taman Budaya Yogyakarta Drs. Umar Priyono, M.Pd. Suwarno Wisetrotomo Jl. Sriwedani No. 1 Yogyakarta 55123 Stanislaus Yangni Telp: (0274) 523512, 561914 Fax: (0274) 580771 Penanggungjawab Teknis Satmoko Budi Santoso Email: [email protected] Drs. Diah Tutuko Suryandaru Website: www.thewindowofyogyakarta.com Penanggungjawab Anggaran Editor Dra. Siswati Dra. V. Retnaningsih Diproduksi di Yogyakarta Penanggungjawab Distribusi Kertas sampul: Aster, Isi: Matte Paper Desainer Dian Widowati L., SH Huruf: Leelawadee, Lato, HelveticaNeueLight, Adobe Garamond Pro Maria Inarita Uthe Ilustrasi: www.freepik.com Penanggungjawab Redaksional Viki Restina Bela Kuss Indarto Sekretariat Fotografer Matajendela, majalah seni budaya terbit selama tiga bulan sekali. Suroto, Bejo, Wahyudi, Suprayitno Rudi Subagyo, Redaksi menerima tulisan dari penulis, kritikus dan pemerhati seni bu- Juiyus W., Joko Setiawan Lukito daya. EDITORIAL Yogya dan Mimpi Film Indonesia Kuss Indarto ingga pertengahan tahun 1998 telah menjadi tonggak bagi berkaitan dengan campur tangan 2016, menurut data dari perubahan geopolitik di Indonesia pemerintah dalam produksi film. www.liputan6.com, jumlah yang berimbas hingga ke dunia Selama masa Orde Baru, berdasarkan Hpenonton film Indonesia (bukan semua kreatif, termasuk di antaranya di Undang-Undang No. -
Consuming Gender and Disability in Indonesian Film
CONSUMING GENDER AND DISABILITY IN INDONESIAN FILM Novi Kurnia Departemen Ilmu Komunikasi Fisipol Universitas Gadjah Mada, Jalan Sosio Yusticia Bulaksumur Yogyakarta 55281, No. Hp. +628169413961, Email: [email protected] Abstract This study aims to examine the film audience reception on gender and disabilities representation towards What We Don’t Talk About When We Talk About Love (Yang Tidak Dibicarakan Ketika Membicarakan Cinta, 2013). This film directed by a prominent Indonesian woman film director, Mouly Surya, and produced in 2013. Such audience study is very important in the scholarship of women and Indonesian films dominated by studies on women representation in the film and women filmmakers. Employing reception analysis based on Stuart Hall’s work, this study involves six Indonesian students as informant of a series of in-depth interviews. The study finds that the personal experiences and knowledge of informants, as well as their film habits, but not their gender, influences their interpretation toward the issue of gender and disabilities in the film. Keywords: gender, disability, film audience, reception, women director Abstrak Penelitian ini bertujuan untuk mengetahui pemaknaan penonton film terhadap representasi gender dan kaum difabel yang terdapat dalam film What We Don’t Talk About When They Talk About Love (Yang Tidak Dibicarakan Ketika Membicarakan Cinta, 2013). Film ini disutradarai oleh salah satu sutradara perempuan terkemuka Indonesia, Mouly Surya, dan diproduksi pada tahun 2013. Penelitian mengenai penonton film ini sangat penting dalam kajian perempuan dan film Indonesia yang didominasi oleh beragam penelitian mengenai representasi perempuan di film dan pekerja film perempuan. Dengan menggunakan analisis resepsi hasil karya Stuart Hall, penelitian ini melibatkan enam informan dari serangkaian wawancara mendalam.