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Journal of Film Preservationfilm of Journal Journal of Film Preservation Contributors to this issue... Ont collaboré à ce numéro... Journal Han participado en este número... 69 05/ 2005 of Film MAGDALENA ACOSTA CHRISTINE HAKIM Director General of the Cineteca nacional (México) Indonesian Film Producer, Director and Actress (Jakarta) ANTTI ALANEN Preservation Head of Programming at the Finnish Film Archive NATACHA LAURENT (Helsinki) Déléguée Générale de la Cinémathèque de Toulouse (Toulouse) BRIGITTE BERG Président of Les Documents cinématographiques ERIC LE ROY (Paris) Chef du Service accès, valorisation et enrichissement des collections, Centre national de H. MISBACH YUSA BIRAN la cinématographie (Bois d’Arcy) Director of the Sinematek Indonesia (Jakarta) VITTORIO MARTINELLI CATHERINE BLOCH Historien et chercheur de cinéma (Rieti, Italia) Deputy Director of Research of the Cineteca de Revista la Internacional Federación de Fílmicos Archivos nacional (México) DONALD MCWILLIAMS Writer, filmmaker (The Fifth Province, 2002) and THOMAS C. CHRISTENSEN teacher (Montréal) Curator at the Cinematheque of the Danish Film Institute (København) MARIO MUSUMECI Preservation Officer at the Cineteca Nazionale – ROBERT DAUDELIN Fondazione Centro Sperimentale di Cinematografia Membre honoraire de la FIAF (Montréal) (Roma) Published by the International Federation of Film Archives MARCO DE BLOIS VLADO SKAFAR Conservateur du cinéma d’animation, Film director and critic (Ljubljana) Cinémathèque québécoise (Montréal) IVÁN TRUJILLO ALFONSO DEL AMO Director general de Actividades cinematográficas Jefe de la Comisión técnica de la FIAF,Titular de de la Filmoteca de la UNAM (México) restauraciones y servicios técnicos de la Filmoteca de Revue la Fédération Internationale des du Archives Film Española (Madrid) FUMIKO TSUNEISHI Assistant Curator at the National Film Center, The DOMINIQUE DUGAS National Museum of Modern Art (Tokyo) 69 • FIAF 05/2005 Conservateur de la télévision, Cinémathèque québécoise (Montréal) May / mai mayo 2005 69 Open Forum 2 Brief History of the Indonesian Film H. Misbach Yusa Biran 7 Indonesian Cinema as Seen by… Christine Hakim Historical Column / Chronique historique / Columna histórica 12 Maverick Filmmaker Jean Painlevé Brigitte Berg Norman McLaren in Cuba 29 A God in Volda Donald McWilliams Courtesy of the National Film Board of Canada / Office National du Film du Canada Education / Formation / Capacitación 40 Escuela sobre ruedas 2004-2005 Iván Trujillo, Alfonso del Amo Technical Column / Chronique technique / Columna técnica 45 Some Pioneering Cases of Digital Restoration in Japan FIAF Awards Fumiko Tsuneishi Martin Scorsese (2001) Manoel de Oliveira (2002) 53 The FIAF Electronic Subtitling Network Ingmar Bergman (2003) Antti Alanen Geraldine Chaplin (2004) News from the Archives / Nouvelles des archives / Noticias de los archivos 57 Copenhagen: Asta Nielsen – Lost and Found Thomas C. Christensen 59 México: El Reportero T.D. Collection Magdalena Acosta, Catherine Bloch In Memoriam 61 Guido Cincotti (1928 - 2005) Fédération Internationale des Vittorio Martinelli Archives du Film - FIAF Rue Defacqz 1 1000 Bruxelles / Brussels Belgique / Belgium Tel: (32 2) 538 30 65 Fax: (32 2) 534 47 74 E-mail: [email protected] Journal of Film Preservation 62 Remembering Guido Cincotti Journal of Film Preservation Mario Musumeci Half-yearly / Semi-annuel ISSN 1609-2694 Copyright FIAF 2005 65 Gianni Comencini (1921-2005) Robert Daudelin FIAF Officers President / Président Eva Orbanz 66 Silvan Furlan (1953-2005) Secretary General / Secrétaire général Vlado Skafar Meg Labrum Treasurer / Trésorier Congresses / Congrès / Congresos Karl Griep 6827e conférence annuelle de la FIAT Comité de rédaction Dominique Dugas Editorial Board Chief Editor / Rédacteur en chef Publications / Publications / Publicaciones Robert Daudelin 72 Encyclopédie du court-métrage français EB Members / Membres CR Eric Le Roy Mary Lea Bandy Eileen Bowser 74 Dictionnaire du cinéma populaire français, des origines à nos jours Paolo Cherchi Usai Christian Dimitriu Natacha Laurent Eric Le Roy Hisashi Okajima DVDs Susan Oxtoby 76 Winsor McCay: The Master Edition Corespondents/Correspondants Marco de Blois Thomas Christensen Ray Edmondson 78 Un roi sans divertissement Steven Higgins Robert Daudelin Clyde Jeavons Paul Read 80 Les Otages Résumés Eric Le Roy Eileen Bowser Robert Daudelin Christian Dimitriu 82 Coffret Louise Brooks Clyde Jeavons Eric Le Roy M. Beatrice Lenzi Catherine Surowiec 84 Publications Received at the Secretariat / Publications reçues au Sever J. Voicu Secrétariat / Publicaciones recibidas en el Secretariado Publisher / Editeur Christian Dimitriu 86 FIAF Bookshop / Librairie FIAF / Librería FIAF Editorial Assistants Olivier Jacqmain Catherine Surowiec Graphisme / Design Meredith Spangenberg Imprimeur / Printer Artoos - Brussels Brief History of the Indonesian Film H. Misbach Yusa Biran Until the middle of the 20th Century, Indonesia was a Dutch colony. The Open Forum last regions were Aceh and Bali. The Dutch colonial period ended with the invasion of the Japanese Army in 1942. In 1945, two days after the Indonesia Allied Forces defeated the Japanese, Indonesia proclaimed its independence. The Dutch, however, tried to regain their authority in Indonesia, as a result of which fighting flared up until 1949, when the Editor’s note: In March 1999, the Dutch finally recognized the independence of Indonesia. Fukuoka City Public Library Film Under Dutch colonization, the Indonesian people had no chance to Archive held a one-day seminar develop their creative capabilities. At the end of the Dutch hegemony, devoted to Indonesian cinema. the number of literate people was less than 10%. Most Indonesians Here are two important made their living by farming and small traditional trading. contributions from this seminar. May our colleagues from Film Comes to Indonesia Fukuoka be thanked for making Films were shown for the first time in Indonesia by the Dutch. They these essays available. were projected in mobile theatres or rented houses. Later on the film business was dominated by the Chinese. In 1925 they owned most of the movie theatres in Indonesia. En mars 1999, la Fukuoka City Public Library Film Archive Film-making has been known in Indonesia since 1911, beginning with organisa un séminaire consacré documentaries made by film crews from Europe, initiated by the Dutch, au cinéma indonésien. Grâce à G. Kruger and F. Carli among them. nos amis de Fukuoka, nous The First Feature Films sommes en mesure de publier The first films were made in Indonesia in 1926 by the Dutch citizens G. deux contributions Kruger and L. Herveldorp, soon followed by F. Carli. importantes au séminaire. Although high-tech films from Hollywood and Europe had frequently entered Indonesia, indigenous film-making was still primitive. The En marzo 1999, la Fukuoka City marketing of domestic films was quite difficult. The Chinese became Public Library Film Archive involved in the film business in 1928. Their first aim was to upgrade the organizó un seminario quality of home-made films. Their boldness and determination dedicado al cine indonesio. withstood the challenge, while the Dutch, despite being the pioneers, Gracias a nuestros amigos de soon gave up. Fukuoka hemos podido publicar aquí dos contribuciones Terang Bulan (Full Moon) was produced in 1937 by Albert Balink, a importantes al seminario. Dutch journalist who had joined the Wong Brothers, a Chinese company. It was an imitation of the Hollywood “South Seas” film The Jungle Princess (Laut Selatan), starring Dorothy Lamour in her first sarong role. Terang Bulan incorporated songs, which were popular with the Indonesian audience. The film suited the public taste and was a big hit, inspiring dreams of a more hopeful life. The success of the film reached as far as the Malacca Peninsula, where the title song,“Terang Bulan”, became very popular. In 1957 it was adopted as the Malaysian national anthem. The First Boom Terang Bulan proved that film-making in Indonesia could be a 2 Journal of Film Preservation / 69 / 2005 Colonie hollandaise jusqu’en 1949, profitable business. Newly established film companies raced to produce c’est aux Hollandais que l’Indonésie films by applying the Terang Bulan formula, using action, songs, doit ses premières productions romance, beautiful panoramas, and movie-star couples. The Star cinématographiques dès 1911. Si les spectacles cinématographiques furent System was introduced into Indonesian film-making. The most popular d’abord le fait de projectionnistes actors of the time were Rukiah and Rd. Mochtar, the stars of Terang itinérants, voire même de projections Bulan. dans des maisons privées, cette situation changea dans les années 20 The emergence of a production boom was followed by a boom in alors que les Chinois devinrent la audiences. Young politicians, who were struggling for Indonesia’s force dominante de ce marché independence, urged the indigenous Indonesian middle class to see nouveau, au point de posséder la Terang Bulan. They called upon them to promote the use of domestic majorité des salles du pays en 1925. products, including Indonesian films. This boom period ended in 1942 Si ce sont deux hollandais, Kruger et with the arrival of the invading Japanese. All film studios were closed Herveldorp, qui tournent le premier on the grounds that the then-dominant film producers, all Chinese, film indonésien en 1926, les would not understand the function of film in the new era. The number industriels chinois du cinéma deviennent à leur tour producteurs
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