Bab I Pendahuluan
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
PROGRAMA SITGES20 2.Indd
INFORMACIÓ I VENDA D’ENTRADES Compra les teves entrades a través del web del Festival: sitgesfilmfestival.com PREUS VENDA D’ENTRADES SESSIONS PRESENCIALS (IVA inclòs) Online: sitgesfilmfestival.com 10,50€: Tarifa general Auditori TAQUILLES DE L’AUDITORI MELIÁ SITGES, 9,50€: Tarifa general i Sessions especials Sitges Sala Tramuntana de l’Hotel Meliá Sitges Clàssics (C/ Ramon Dalmau, s/n). 7€: Sitges Clàssics 7,50€: Sessions Anima’t Curts TAQUILLES CENTRE 12,50€: Programa doble i Sessions especials a Oficina de Turisme de Sitges, a la sortida de l’Auditori 12,50€: Localitats numerades preferents per a les sessions de tarda a l’Auditori (menys HORARI sessions especials Auditori). No admeten Del 8 al 17 d’octubre descomptes Matí de 10 a 15h 14,50€: Localitats numerades preferents per a les sessions especials de tarda a l’Auditori. El 18 d’octubre les taquilles romandran tancades No admeten descomptes 22€: Gala d’Inauguració. No admet Grups: descomptes sessió contactar per correu electrònic a taquilles. 17€: Gala de Cloenda. No admet descomptes 5€: Sessions Despertador (primera sessió matinal a tots els cinemes). No admet descomptes Les sessions escolars 1,50€: Reserva Masterclass. Entrades limitades. No estan obertes al públic general. No admet descomptes Observacions: 17€: Es recomana el pagament amb targeta. No adquirir al web o a les taquilles del la venda d’entrades per les sessions immediates. 20€: Llibre commemoratiu 50 aniversari. Es podrà adquirir al web o a les taquilles del sessió. Només es contemplarà el canvi o devolució de l’import de l’entrada en el cas de programació. -
Deepa Mehta (See More on Page 53)
table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region. -
Komodifikasi Kesenian Wayang Kulit Dalam Film Perempuan Tanah Jahanam Perspektif Marxian
E-ISSN 2686 5661 INTELEKTIVA : JURNAL EKONOMI, SOSIAL & HUMANIORA VOL.01 NO. 12. JULI 2020 KOMODIFIKASI KESENIAN WAYANG KULIT DALAM FILM PEREMPUAN TANAH JAHANAM PERSPEKTIF MARXIAN Rizky Sulaiman Salim1, Akbar Ramadhan Muhammad2, AG Eka Wenats Wuryanta3 1,2)Mahasiswa Program Magister Komunikasi Universitas Paramadina-Jakarta 3)Dosen Program Magister Ilmu Komunikasi Universitas Paramadina-Jakarta Email : [email protected] ABSTRAK Film menjadi salah satu media efektif dalam komunikasi massa dan juga menjadi komoditas yang menggerakkan roda perekonomian kreatif. Melalui film ada nilai-nilai yang dijadikan tontonan, yang dapat dikonversi menjadi rupiah. Inilah diskursus komodifikasi dimulai. Tujuan penelitian ini adalah menemukan kemungkinan komodifikasi kesenian wayang kulit yang merupakan salah satu warisan budaya Jawa dalam film Perempuan Tanah Jahanam. Nilai-nilai budaya tersebut secara sadar digunakan untuk mendukung konsep mistis dalam cerita dan dijual sebagai komoditas yang menggiurkan bagi pelaku industri perfilman. Analisis dipandu oleh teori komodifikasi Marxisme yang menyatakan bahwa komodifikasi merupakan proses memproduksi barang maupun jasa apapun untuk diperjualbelikan. Penelitian ini menggunakan metodi kualitatif field study (naturalistic inquiry) yang bersifat deskriprif untuk menjelaskan fenomena yang ditangkap dan dipahami oleh penulis. Adapun pendekatan penelitian yang digunakan adalah etnografi media, dimana peneliti „‟mendiami‟‟ film Perempuan Tanah Jahanam secara intens, dan dalam interval waktu tertentu -
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. -
2020 Sundance Film Festival: 118 Feature Films Announced
FOR IMMEDIATE RELEASE Media Contact: December 4, 2019 Spencer Alcorn 310.360.1981 [email protected] 2020 SUNDANCE FILM FESTIVAL: 118 FEATURE FILMS ANNOUNCED Drawn From a Record High of 15,100 Submissions Across The Program, Including 3,853 Features, Selected Films Represent 27 Countries Once Upon A Time in Venezuela, photo by John Marquez; The Mountains Are a Dream That Call to Me, photo by Jake Magee; Bloody Nose, Empty Pockets, courtesy of Sundance Institute; Beast Beast, photo by Kristian Zuniga; I Carry You With Me, photo by Alejandro López; Ema, courtesy of Sundance Institute. Park City, UT — The nonprofit Sundance Institute announced today the showcase of new independent feature films selected across all categories for the 2020 Sundance Film Festival. The Festival hosts screenings in Park City, Salt Lake City and at Sundance Mountain Resort, from January 23–February 2, 2020. The Sundance Film Festival is Sundance Institute’s flagship public program, widely regarded as the largest American independent film festival and attended by more than 120,000 people and 1,300 accredited press, and powered by more than 2,000 volunteers last year. Sundance Institute also presents public programs throughout the year and around the world, including Festivals in Hong Kong and London, an international short film tour, an indigenous shorts program, a free summer screening series in Utah, and more. Alongside these public programs, the majority of the nonprofit Institute's resources support independent artists around the world as they make and develop new work, via Labs, direct grants, fellowships, residencies and other strategic and tactical interventions. -
Analisis Semiotika Pesa Setan Seri Pert Jurusan Komuni Fakultas Institut Aga Isis Semiotika Pesan Dakwah Dalam Film Pengabd Seta
ANALISIS SEMIOTIKA PESAN DAKWAH DALAM FILM PENGABDI SETAN SERI PERTAMA KARYA JOKO ANWAR SKRIPSI Oleh : ZIAN NABILA NIM : 211014022 Pembimbing Dr. M. Irfan Riyadi, M. Ag 196601102000031001 JURUSAN KOMUNIKASI DAN PENYIARAN ISLAM FAKULTAS USHULUDDIN, ADAB, DAN DAKWAH INSTITUT AGAMA ISLAM NEGERI (IAIN) PONOROGO 2018 ABSTRAK Nabila, Zian. 2018. Analisis Semiotika Pesan Dakwah Dalam Film Pengabdi Setan Seri Pertama Karya Joko Anwar. Skripsi. Jurusan Komunikasi dan Penyiaran Islam Fakultas Ushuluddin, Adab dan Dakwah Institut Agama Islam Negeri Islam (IAIN) Ponorogo. Pembimbing Dr. M. Irfan Riyadi, M. Ag. Kata kunci : Film Pengabdi Setan, Semiotika, Pesan Dakwah. Di zaman modern seperti sekarang ini memang tidak bisa lepas dari media massa. Media massa menjadi fenomena dan trend tersendiri yang cukup menarik serta mempunyai ciri khas masing-masing dalam menyampaikan berbagai pesan dan informasi. Dari sekian banyak media massa, film merupakan media massa yang digandrungi oleh banyak kalangan, sebab ia merupakan audio visual yang dapat dinikmati di manapun dan kapan pun saja. Selain itu, film juga sebagai media dakwah yang sangat efektif, karena memiliki banyak keuntungan yang bisa dicapai. Salah satunya adalah film pengabdi setan karya Joko Anwar. Film tersebut memperingatkan kepada penonton tentang bagaimana seharusnya cara menjalani sebuah kehidupan yang benar sesuai dengan ajaran Islam. Adapun penggambaran yang paling menonjol dalam film ini adalah mengenai perbuatan syirik (menyekutukan Allah). Dalam penelitian ini masalah yang diteliti adalah (1) Bagaimana makna denotasi, konotasi, dan mitos dalam film pengabdi setan, (2) Pesan dakwah apa saja yang terkandung dalam film pengabdi setan. Penelitian ini menggunakan penelitian kualitatif, dengan metode semiotika, maksudnya penulis meneliti film pengabdi setan dengan menganalisis simbol-simbol, dalam hal ini pesan-pesan dakwah yang terkandung di dalamnya, baik dalam makna denotatif, konotatif maupun mitos. -
!!Dvdrip!! Horror Film Indonesia Download – Watch Online with 123Movies
!!DVdRIP!! Horror Film Indonesia Download – Watch online with 123movies This is an Indonesian Wayan brother's ripoff of Sccary Movie with the film making fun of its own horror movie industry. And believe me - there is a lot to make fun of in this horror industry. As with any spoof there isn't really much of a plot to tell... High school kids face ghosts, demons and witches. Eyes pop out and ghosts bang their heads against walls. Possessed fly off whilst being exorcised. Headless zombies lose their heads. Witches get shoeshines. And so forth... O yeah... and Spiderman makes an appearance... I'm not quite sure what to think of this movie, so I put myself to this test: Did I enjoy the movie? Yes. Did it make me laugh? From time to time. Did I enjoy it more than Scary Movie? Yes. Is it pointless? Yes. Is it so bad that its good? Hmm... not really. Acting was from bad to decent with Andhika Gumilang doing the only proper acting job, even if his role was being a geeky idiot... But well... the guy has potential in comparison with some other members of the cast like ms Ugly Betty (watch the movie). Special effects are mostly OK and don't subtract from the movie. Ghosts are nicely done, sometimes better than in the original movie. Its actually the most surprising thing about the Indonesian horror movies. No matter how bad the plot and directing it seems that the 'monsters' are actually nicely done, even though they are often overused and badly filmed to change them from scary into ridiculous. -
Day 1 001 Ad Cover.Indd
MONDAY, MARCH 24 2014 DAY 1 AT FILMART www.ScreenDaily.com Editorial +852 2582 8959 Advertising +852 2582 8958 fatal_encounter-ad_245x266_fin_전달용 1 2014.3.14 5:41:12 PM MONDAY, MARCH 24 2014 TODAY DAY 1 AT FILMART Hot titles: Korea, page 16 www.ScreenDaily.com Editorial +852 2582 8959 Advertising +852 2582 8958 NEWS Pan-Asia Academy expands Hong Kong, Busan and Toyko outline Academy plans » Page 4 Desen teams with Weta REVIEWS The Midnight After Fruit Chan’s opening night film proves a quirky apocalyptic horror on 3D epic Zhong Kui » Page 10 Jamie Marks Is Dead BY LIZ SHACKLETON Weta Workshop is providing FEATURE China’s Desen International Media character and scenery design for Hot titles Celluloid Dreams has brought on board top VFX the fi lm, while its sister company Screen profiles Korean cinema houses including Peter Jackson’s Park Road Post works on compos- highlights acquires Jamie Weta Workshop for $27m 3D fan- iting. The film is one of the first » Page 16 tasy adventure Zhong Kui: Snow Chinese films to use full perfor- Marks Is Dead Girl And The Dark Crystal. mance capture, which will be han- SCREENINGS Acclaimed Hong Kong DoP dled by leading Korean VFX house » Page 19 BY JEAN NOH Peter Pau is serving as producer, Li Bingbing Macrograph (Journey To The West: France’s Celluloid Dreams has DoP and VFX director on the fi lm, Conquering The Demons). picked up international rights on which is currently shooting in stereographer Vincent E Toto Other behind-the-scenes talent Sundance competitor Jamie Marks China with Chen Kun, Li Bingbing, (Dredd). -
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. -
INTERVIEW: JOKO ANWAR for This Edition of IMAJI, We Conducted a Deep Interview with Joko Anwar, Had a Peek at His Childhood
INTERVIEW: JOKO ANWAR For this edition of IMAJI, we conducted a deep interview with Joko Anwar, had a peek at his childhood and reviewed his creative processes in filmmaking. Joko Anwar is a household name in Indonesia, well-known to the public as one of the country’s celebrated film directors. His movies include Janji Joni (2005), Modus Anomali (2012), Pintu Terlarang (2009), and Perempuan Tanah Jahanam (2019). (Source: www.instagram.com/jokoanwar ) What happened in your youth that made you to want to be a filmmaker? I was born and raised in an environment not conducive for a kid to learn and grow. All my life lessons I got from watching films. I became very familiar with movie theaters from since I was 5 and went to watch movies by myself from since I was 7. When I came to know that films had somebody who made them, at around 10, that was when I decided I wanted to be a filmmaker. Today, people can learn to make films by watching audiovisual products on YouTube. What are the fundamental requirements to be a filmmaker in your view? A movie provides a rewarding viewing experience if it successfully makes the audience want to willingly enter the universe constructed by the filmmaker and follow each character’s journey. I am convinced only a filmmaker with a rich life perspective can do this. A filmmaker does not have to be wise nor know the answer to all life’s questions, but rather understands that people learn from peeking into somebody else’s life. -
Nilai-Nilai Pendidikan Islam Dalam Film Sang Kiai Karya Rako Prijanto
NILAI-NILAI PENDIDIKAN ISLAM DALAM FILM SANG KIAI KARYA RAKO PRIJANTO SKRIPSI Oleh : DIMAS PRADANA ARDIANSAH NIM : D91217046 PRODI PENDIDIKAN AGAMA ISLAM FAKULTAS TARBIYAH DAN KEGURUAN UNIVERSITAS ISLAM NEGERI SUNAN AMPEL SURABAYA 2021 SURAT OTENTITAS SKRIPSI iv HALAMAN PERSETUJUAN DOSEN PEMBIMBING Skripsi Oleh: Nama : Dimas Pradana Ardiansah NIM : D91217046 Prodi : Pendidikan Agama Islam Judul Skripsi : Nilai-Nilai Pendidikan Islam dalam Film Sang Kiai Karya Rako Prijanto Ini telah diperiksa dan disetujui oleh dosen pembimbing untuk diujikan. Lamongan, 25 Maret 2021 Pembimbing 1 Pembimbing II Prof. H. Damanhuri, MA. Dr. Phil. Khoirun Ni’am, S.Ag NIP. 195304101988031001 NIP. 197007251996031004 ABSTRAK Kualitas pengajaran Islam dalam film kiai adalah salah satu isu krusial yang melatarbelakangi pengarang untuk merenungkan topik ini. Penulis esai mencoba untuk mengkontemplasikan film ini dengan menggunakan pengujian subjektif dan hipotesis semiotik Roland Barthes. Film merupakan media yang dapat digunakan sebagai sarana penyampaian makna atau pesan atau sifat-sifat kebaikan, sehingga dapat dengan mudah diakui oleh lingkungan sekitar dan khususnya alam semesta pengajaran. Media film dengan gagasan hiburan dapat dimanfaatkan oleh pembuat dan pemimpinnya untuk memasukkan nilai atau makna pesan- pesan kebaikan di dalamnya sehingga masyarakat secara implisit mengakuinya. Persoalan yang diangkat dalam subjek eksplorasi ini adalah apakah ada nilai-nilai ajaran Islam dalam film Sang Kiai. juga, temukan jawaban untuk masalah ini. Eksplorasi ini didorong oleh pergerakan pentingnya sekolah yang membuat mendidik sendiri. Ini sangat mempengaruhi siswa dan instruktur. Untuk siswa, mereka mengalami peningkatan yang tinggi dalam skor psikologis mereka, namun tidak sepenuhnya dari sudut pandang perasaan harga diri. Hal ini diperkuat oleh instruksi karakter tanpa henti oleh otoritas publik sebagai reaksi terhadap pertukaran kualitas yang kurang bermanfaat di alam semesta sekolah.