DOCSLIB.ORG

Exhibition Catalogue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

exhibition catalogue ARKIPEL social/kapital 4th Jakarta International Documentary & Experimental Film Festival 2016 JAKARTA / AGUSTUS 2016 FESTIVAL FORUM 18-19 FESTIVAL 19-26 EXHIBITION 18-25 WWW.ARKIPEL.ORG @ARKIPEL Colophon Editor / Editor Manshur Zikri Penulis / Writers Mahardika Yudha, Otty Widasari, Yuki Aditya Penerjemah / Translator Ninus D. Andarnuswari, Devy Larasati, Yuki Aditya, Manshur Zikri EXHIBITION TEAM Perancang Grafis / Graphic Designers Kultursinema exhibition curator Andang Kelana Mahardika Yudha Latar Sampul / Cover Image Afrian Purnama (assistant) Kultursinema: Still image from Kwee Zwan Liang footages. Park Lanes exhibition curator Collection of EYE Film Institute. Otty Widasari Park Lanes: Image captured from Park Lanes (2015). - Kettle Vector Abi Rama exhibition coordinator ARKIPEL Tree of Knowledge Drawing Rachmadi "Rambo" Hafiz Rancajale exhibition manager ARKIPEL Logotype Drawing Viandira Athia Mulyono Ugeng T. Moetidjo Art Handling M. Sigit Budi Santoso Percetakan / Printing kultursinema team Gajah Hidup Ario Fazrien, Syaiful Anwar, Afrian Purnama, Rachmadi "Rambo", Diterbitkan oleh / Published by Viandira Athia Mulyono, Maulandy Rizky, Forum Lenteng Bayu Kencana, Anggun Yulia Forum Lenteng Jl. H. Saidi No. 69 RT.007/RW.05, Tanjung Barat, Jagakarsa, Jakarta. 12530 www.forumlenteng.org | [email protected] | @forumlenteng ARKIPEL – Jakarta International Documentary & Experimental Film Festival www.arkipel.org | [email protected] | @arkipel 2 | ARKIPEL: SOCIAL/KAPITAL [exhibition catalogue] Daftar Isi Contents Pengantar Direktur Festival 4 Foreword of Festival Director 6 Kultursinema #3: Menangkap Cahaya 12 Kultursinema #3: Capturing the Lights 16 Park Lanes: Simulasi Kecil Kebudayaan di Ruang Besar Peradaban 36 Park Lanes: Small Simulation of Culture in the Great Room of Civilization 43 4rd JAKARTA INTERNATIONAL DOCUMENTARY & EXPERIMENTAL FILM FESTIVAL 2016 | 3 Pengantar Direktur Festival Yuki Aditya Selamat datang di perhelatan keempat ARKIPEL – Jakarta International Documentary & Experimental Film Festival, yang tahun ini mengusung tema social/kapital. Kami sangat senang bisa berbagi pengetahuan dan kegembiraan akan program-program yang telah kami susun satu tahun belakangan ini. Sebagai sebuah festival filem, kami bahagia ARKIPEL tetap konsisten menjadi bagian dari usaha-usaha yang membangun medan pertemuan dan berbagi pengetahuan/pengalaman tentang sinema, serta sebagai sarana berjejaring antarpegiat media audio-visual dan pelaku-pelaku filem di tingkat komunitas. Sebagai sebuah organisasi, Forum Lenteng dikelola oleh pegiat-pegiat dengan latar belakang disiplin pengetahuan yang beragam. Program festival ARKIPEL diniatkan sebagai ruang belajar lintas disiplin, yang mencoba mencari titik temu dari keragaman pengetahuan itu, juga sebagai sarana alternatif untuk menspekulasikan gagasan-gagasan baru tentang media, khususnya sinema, dan organisasi festival filem. Peradaban Sinema dalam Pameran kini hadir untuk ketiga kalinya dengan nama baru, KULTURSINEMA. Pameran ini bertajuk “Menangkap Cahaya”, dikuratori oleh Mahardika Yudha yang menyoroti wacana produksi sinema di Indonesia periode 1920-an sampai 1940-an. Filem-filem yang ditayangkan, antara lain adalah karya-karya yang dibuat oleh Kwee Zwan Liang, The Teng Cun, Wong Bersaudara, dan Tan Tjoei Hock. Filem-filem tersebut merupakan koleksi dari EYE Filmmuseum, Amsterdam, Belanda serta Sinematek Indonesia. Tahun ini ARKIPEL juga mempresentasikan salah satu Program Kuratorial, tentang filem Park Lanes (2015) karya Kevin Jerome Everson, yang dikuratori oleh Otty Widasari, ke dalam bentuk pameran. Bertajuk “Park Lanes: Simulasi Kecil Kebudayaan di Ruang Besar Peradaban”, pameran ini merupakan 4 | ARKIPEL: SOCIAL/KAPITAL [exhibition catalogue] presentasi tentang kerja riset mengenai dunia kerja yang merepresentasikan sebuah lingkup kecil kebudayaan masyarakat tertentu di sebuah lokasi yang menjadi ranah peradaban global masyarakat-manusia. Forum Sinema, Gudang Sarinah, akan menjadi ruang presentasi pameran ini. Rangkaian pameran KULTURSINEMA dan “Park Lanes” akan dihelat di Gudang Sarinah Ekosistem selama ARKIPEL berlangsung dengan dukungan Direktorat Jenderal Kebudayaan, Kementerian Pendidikan dan Kebudayaan Republik Indonesia; Kedutaan Besar Kerajaan Belanda; dan Kedutaan Besar Amerika Serikat. Dukungan ini menandakan suatu perkembangan positif, bahwa telah meningkatnya perhatian Pemerintah terhadap bidang sinema semacam ini. Bagi ARKIPEL sendiri, hal ini merupakan suatu capaian tertentu dalam hal kemitraan. Semoga hubungan kerja sama antara Forum Lenteng dan Pemerintah dapat terus berlanjut dan memicu perwujudan berbagai inisiatif kreatif yang lebih baik di masa depan. Demikian juga dengan dukungan dari lembaga-lembaga kebudayaan negara-negara sahabat dan lembaga-lembaga swasta, yang selama ini memfasilitasi Forum Lenteng dan mendorong terwujudnya berbagai ide kreatif yang berhubungan dengan filem, khususnya festival ARKIPEL. j 4rd JAKARTA INTERNATIONAL DOCUMENTARY & EXPERIMENTAL FILM FESTIVAL 2016 | 5 Foreword of Festival Director Yuki Aditya Welcome to the fourth edition of ARKIPEL - Jakarta International Documentary & Experimental Film Festival, and this year’s theme is social/ kapital. We are excited to share knowledge and excitement with programs we’ve compiled this year. As a film festival, we are happy ARKIPEL to remain consistent to be part of efforts to build it as a space to meet and share knowledge/experience of cinema, as well as a place of building network amongst audio-visual media and film activists. As an organization, Forum Lenteng is managed by activist with diverse background of knowledge and disciplines. The festival program of ARKIPEL is intended as an interdisciplinary learning space, which is trying to find common ground on the diversity of knowledge, as well as alternative means to speculate about new ideas about media, especially cinema and film festival organization. Cinema Culture in Exhibition is now available for the third time with a new name, KULTURSINEMA. The exhibition entitled “Capturing the Lights” is curated by Mahardika Yudha; it will highlight a period of cinema production in Indonesia from the 1920s to 1940s. The exhibition will showcase the works of Kwee Zwan Liang, The Teng Cun, Wong Brothers, and Tan Tjoei Hock. Those films are the collections of EYE Filmmuseum, Amsterdam, The Netherlands, and Sinematek Indonesia. This year, ARKIPEL also presents one of the Curatorial Programs, on Kevin Jerome Everson’s Park Lanes (2015), which is curated by Otty Widasari, into an exhibition format. Entitled “Park Lanes: Small Simulation of Culture in the Great Room of Civilization”, it is a presentation of research about the world of worker representing a small cultural sphere of particular society at a 6 | ARKIPEL: SOCIAL/KAPITAL [exhibition catalogue] location where global civilization of human-society takes place. Forum Sinema, Gudang Sarinah, will be the the venue of the exhibition. The KULTURSINEMA and the “Park Lanes” exhibition will be held at Gudang Sarinah Ekosistem during the festival of ARKIPEL and is receiving supports from the Directorate General of Culture, Ministry of Education and Culture of the Republic of Indonesia; The Embassy of the Kingdom of the Netherlands; and the Embassy of The United States of America. This support indicates a positive response and increased attention from the Government to this kind of cinema. For ARKIPEL itself, it is a particular achievement in terms of partnership. Hopefully cooperation between Forum Lenteng and the Government could continue and trigger a variety of creative initiatives better in the future. Likewise, with the support of cultural institutions of other countries and private institutions, which have facilitated Forum Lenteng and promote creative ideas related to cinema, particularly the ARKIPEL Jakarta International Documentary and Experimental Film Festival. j 4rd JAKARTA INTERNATIONAL DOCUMENTARY & EXPERIMENTAL FILM FESTIVAL 2016 | 7 8 | ARKIPEL: SOCIAL/KAPITAL [exhibition catalogue] OTTY WIDASARI MAHARDIKA YUDHA Otty Widasari (Balikpapan, 1973) adalah Mahardika Yudha (Jakarta, 1981) adalah seorang seniman, sutradara, pegiat media, seorang seniman, kurator, sutradara, peneliti salah satu pendiri Forum Lenteng, dan seni dan filem, anggota dan salah satu pendiri Direktur Program Pemberdayaan Media Forum Lenteng. Sejak 2013, dia menjadi Berbasis Komunitas (AKUMASSA) Forum Direktur Festival OK. Video – Indonesia Lenteng. Lulusan Seni Murni, Institut Media Arts Festival, salah satu divisi di Kesenian Jakarta, tahun 2013. ruangrupa, Jakarta. Otty Widasari (Balikpapan, 1973) is an Mahardika Yudha (Jakarta, 1981) is an artist, filmmaker, media activist, one of the artist, curator, filmmaker, art researcher, and founders of Forum Lenteng, and Director of one of the founders and a member of Forum Community-Based Media Empowerment Lenteng. Since 2013, he is the Director of Program (AKUMASSA) at Forum Lenteng. OK. Video – Indonesia Media Arts Festival, She graduated Fine Arts at the Institut one of divisions at ruangrupa, Jakarta. Kesenian Jakarta in 2013. 4rd JAKARTA INTERNATIONAL DOCUMENTARY & EXPERIMENTAL FILM FESTIVAL 2016 | 9 10 | ARKIPEL: SOCIAL/KAPITAL [exhibition catalogue] kultursinema #3: Menangkap Cahaya 4rd JAKARTA INTERNATIONAL DOCUMENTARY & EXPERIMENTAL FILM FESTIVAL 2016 | 11 Still image dari Rekaman-rekaman Kwee Zwan Liang. Koleksi EYE Film Institute Belanda kuratorial Kultursinema #3: Menangkap Cahaya Mahardika Yudha Filem dibuka dengan adegan satu
Recommended publications
  • Discourses Exploring the Space Between Tradition and Modernity in Indonesia

    Discourses Exploring the Space Between Tradition and Modernity in Indonesia

    In the 8th International Indonesia Forum Conference DISCOURSES EXPLORING THE SPACE BETWEEN TRADITION AND MODERNITY IN INDONESIA i Sanksi Pelanggaran Pasal 72 Undang-undang Nomor 19 Tahun 2002 Perubahan atas Undang-undang Nomor 7 Tahun 1987 Perubahan atas Undang-undang Nomor 6 Tahun 1982 Tentang Hak Cipta 1. Barang siapa dengan sengaja dan tanpa hak melakukan perbuatan sebagaimana dimaksud dalam Pasal 2 ayat (1) atau Pasal 49 ayat (1) dan ayat (2) dipidana dengan pidana penjara masing-masing paling singkat 1 (satu) bulan dan/atau denda paling sedikit Rp. 1.000.000,00 (satu juta rupiah), atau pidana penjara paling lama 7 (tujuh) tahun dan/atau denda paling banyak Rp. 5.000.000.000,00 (lima miliar rupiah). 2. Barang siapa dengan sengaja menyiarkan, memamerkan, mengedarkan atau menjual kepada umum suatu ciptaan atau barang hasil pelanggaran Hak Cipta atau Hak Terkait sebagaimana dimaksud dalam ayat (1), dipidana dengan pidana penjara paling lama 5 (lima) tahun dan/atau denda paling banyak Rp. 500.000.000,00 (lima ratus juta rupiah). ii In the 8th International Indonesia Forum Conference DISCOURSES EXPLORING THE SPACE BETWEEN TRADITION AND MODERNITY IN INDONESIA Editorial Board: Hermanu Joebagio, Frank Dhont Pramudita Press iii In the 8th International Indonesia Forum Conference Sebelas Maret University, Solo, Indonesia 29 – 30 July 2015 Organized by: Sebelas Maret University and International Indonesia Forum DISCOURSES EXPLORING THE SPACE BETWEEN TRADITION AND MODERNITY IN INDONESIA Editorial Board: Hermanu Joebagio, Frank Dhont Paper Contributor:
  • Revisiting Transnational Media Flow in Nusantara: Cross-Border Content Broadcasting in Indonesia and Malaysia

    Revisiting Transnational Media Flow in Nusantara: Cross-Border Content Broadcasting in Indonesia and Malaysia

    Southeast Asian Studies, Vol. 49, No. 2, September 2011 Revisiting Transnational Media Flow in Nusantara: Cross-border Content Broadcasting in Indonesia and Malaysia Nuurrianti Jalli* and Yearry Panji Setianto** Previous studies on transnational media have emphasized transnational media organizations and tended to ignore the role of cross-border content, especially in a non-Western context. This study aims to fill theoretical gaps within this scholarship by providing an analysis of the Southeast Asian media sphere, focusing on Indonesia and Malaysia in a historical context—transnational media flow before 2010. The two neighboring nations of Indonesia and Malaysia have many things in common, from culture to language and religion. This study not only explores similarities in the reception and appropriation of transnational content in both countries but also investigates why, to some extent, each had a different attitude toward content pro- duced by the other. It also looks at how governments in these two nations control the flow of transnational media content. Focusing on broadcast media, the study finds that cross-border media flow between Indonesia and Malaysia was made pos- sible primarily in two ways: (1) illicit or unintended media exchange, and (2) legal and intended media exchange. Illicit media exchange was enabled through the use of satellite dishes and antennae near state borders, as well as piracy. Legal and intended media exchange was enabled through state collaboration and the purchase of media rights; both governments also utilized several bodies of laws to assist in controlling transnational media content. Based on our analysis, there is a path of transnational media exchange between these two countries.
  • Identity, Minority, and the Idea of a Nation: a Closer Look at Frieda (1951) by Dr

    Identity, Minority, and the Idea of a Nation: a Closer Look at Frieda (1951) by Dr

    Vol. 1 Journal of Korean and Asian Arts SPRING 2020 Identity, Minority, and the Idea of a Nation: a Closer Look at Frieda (1951) by Dr. Huyung Umi Lestari / Universitas Multimedia Nusantara 【Abstract】 The discourse on film nasional (national film) in Indonesia always started by bringing up Darah dan Doa (1950, Blood and Prayer) as the foundation of the Indonesian film industry. The prominent film historian, Misbach Yusa Biran, stated that Darah dan Doa was produced with national consciousness value. The legacy of Darah dan Doa was not only neglecting the role of filmmakers from pre-Independence in Indonesia but also the role of other filmmakers during the 1950s, including Dr. Huyung. Previously, Dr. Huyung (Hinatsu Eitaro /Hŏ Yŏng) came from Korea and became a supporter of Imperial Japan during World War II. After Indonesia gained her independence, Huyung joined Berita Film Indonesia and became a film teacher at the Cine Drama Institute and Kino Drama Atelier. It was there that they then went on to make Frieda (1951), Bunga Rumah Makan (1951, The Flower of the Restaurant), Kenangan Masa (1951, Memories of the Past), and Gadis Olahraga (1951, the Sportswoman). This article discusses 'unity in diversity', a concept in filmmaking that was started by Huyung in 1949. When discussing Darah and Doa as the first film nasional, people forget that the film is driven from the military perspective. Meanwhile, Huyung tried to represent an ethnic minority in Frieda and showing that the ordinary people and the intellectuals also shaped the nation. Based on his experience in the Japanese army and Berita Film Indonesia, Huyung understood that film was very useful in achieving the goals of the state apparatus, due to the cinema's ability to spread nationalism.
  • M. Cohen on the Origin of the Komedie Stamboelpopular Culture, Colonial Society, and the Parsi Theatre Movement

    M. Cohen on the Origin of the Komedie Stamboelpopular Culture, Colonial Society, and the Parsi Theatre Movement

    M. Cohen On the origin of the Komedie StamboelPopular culture, colonial society, and the Parsi theatre movement In: Bijdragen tot de Taal-, Land- en Volkenkunde 157 (2001), no: 2, Leiden, 313-357 This PDF-file was downloaded from http://www.kitlv-journals.nl Downloaded from Brill.com10/10/2021 12:19:15AM via free access MATTHEW ISAAC COHEN On the Origin of the Komedie Stamboel Popular Culture, Colonial Society, and the Parsi Theatre Movement Introduction . The Komedie Stamboel, also known as the Malay Opera, occupies a prom- inent place in Indonesia's cultural history.1 lts emergence in 1891 has been characterized as a 'landmark' in the development of modern popular theatre (Teeuw 1979:207). The theatre later contributed greatly to the birth of Indo- nesian contemporary theatre and film2 and played a formative role in mod- ern political discourse and representation (see Anderson 1996:36-7). The Komedie Stamboel has been celebrated as one of the most significant 'artistic achievements' of the Eurasian population of colonial Java (see Van der Veur 1968a), but also damned for its deleterious influence on Java's classical and 1 This article was written while a postdoctoral research fellow at the International Institute for Asian Studies (DAS). It was presented in part as lectures at KAS and the Fifth International Humanities Symposium, Gadjah Mada University, in 1998.1 would like to thank all the particip- ants in the research seminar, 'Popular theatres of Indonesia', Department of Southeast Asian and Oceanic Languages and Cultures, Leiden University, where I developed some of the ideas pre- sented here, as well as Kathryn Hansen, Rakesh Solomon, Catherine Diamond, Surapone Virulrak, Hanne de Bruin, and two anonymous BKI reviewers for their comments.
  • The Asian and Eurasian Woman in the Dutch East Indies, in Dutch and Malay Literature

    The Asian and Eurasian Woman in the Dutch East Indies, in Dutch and Malay Literature

    TINEKE HELLWIG, UNIVERSITY OF BRITISH COLUMBIA The Asian and Eurasian woman in the Dutch East Indies, in Dutch and Malay literature Introduction of my life. In the compartmentalization of Dutch academic tradition, Malay texts have been considered At some point in my life I chose to study part of a literary tradition distinct from that of Dutch Indonesian literature because I thought it would give texts. Therefore, Malay and Dutch literature have me the best opportunity to learn about the way been studied separateJy in different departments, by Indonesians think, behave, interact and express different people. Hj:>wever, it is a fruitful exercise to themselves. Throughout my student years, when the connect the two, to juxtapose and compare them and second feminist wave affected society and academia, to read them intertextually, seeking for answers to I developed a special interest in gender issues. I questions which are typically post-colonial. strove to understand the role and position of women and to acquire a gender ideology, and I found some Post-modernism and deconstruction have questioned answers in novels and short stories. Feminist theory and subverted the notion of one central and correct has helped me to formulate and conceptualize my reading of a text. Instead, texts are considered to be ideas. To quote from The Feminist Reader by Belsey multi-interpretable, and meanings are cultural and and Moore: learned, plural, unftxed and constantly changing. Deconstruction offers readers, especially The feminist reader is enlisted in the process female/feminist readers, the freedom to look for new of changing the gender relations which interpretations.
  • Penulis: Mahasiswa Peserta Mata Kuliah Sejarah Sosial Program Studi Pendidikan Sejarah Universitas Sanata Dharma Angkatan 2015

    Penulis: Mahasiswa Peserta Mata Kuliah Sejarah Sosial Program Studi Pendidikan Sejarah Universitas Sanata Dharma Angkatan 2015

    Penulis: Mahasiswa Peserta Mata Kuliah Sejarah Sosial Program Studi Pendidikan Sejarah Universitas Sanata Dharma Angkatan 2015 Editor: Hendra Kurniawan Agatha Cristhy Leatemia Mengulas yang Terbatas, Menafsir yang Silam Copyright © CV Jejak, 2017 Penulis: Mahasiswa Peserta Mata Kuliah Sejarah Sosial Program Studi Pendidikan Sejarah Universitas Sanata Dharma Angkatan 2015 ISBN: 978-602-61880-4-5 Editor: Hendra Kurniawan Agatha Cristhy Leatemia Penyunting dan Penata Letak: Tim CV Jejak Desain Sampul: Meditation Art Sumber Foto: Dokumentasi Tropenmuseum, National Museum of World Cultures – Amsterdam (http://www.tropenmuseum.nl) Penerbit: CV Jejak (Jejak Publisher) Redaksi: Jln. Bojong genteng Nomor 18, Kec. Bojong genteng Kab. Sukabumi, Jawa Barat 43353 Web : www.jejakpublisher.com E-mail : [email protected] Facebook : Jejak Publisher Twitter : @JejakPublisher WhatsApp : +6285771233027 Cetakan Pertama, Juli 2017 250 halaman; 14 x 20 cm Hak cipta dilindungi undang-undang Dilarang memperbanyak maupun mengedarkan buku dalam bentuk dan dengan cara apapun tanpa ijin tertulis dari penerbit maupun penulis 2 | Antusiasme mahasiswa -orang muda- saat mengikuti perkuliahan Sejarah Sosial pada semester genap 2016/2017 memberi suntikan semangat untuk mendorong mereka berlatih menulis. Kebetulan, sebagai mata kuliah pilihan, jumlah mahasiswa tidak terlalu banyak sehingga memungkinkan pendampingan secara intensif. Maka perkuliahan dikemas agar tidak hanya teoretis namun juga praktik penulisan (historiografi) sejarah sosial. Setelah beberapa kali pertemuan, konsultasi dan revisi sana- sini, akhirnya diperoleh 21 tulisan sejarah sosial dengan beragam topik. Aneka ragam topik ini dikelompokkan ke dalam lima tema: budaya dan kearifan lokal; industri, kaum marginal, dan masalah kota; transportasi dan angkutan; olahraga dan kesehatan; serta media massa dan hiburan. Seluruhnya didokumentasikan dalam buku bertajuk “Mengulas yang Terbatas, Menafsir yang Silam”.
  • Ethnic Chinese Film Producers in Pre-Independence Cinema Charlotte SETIJADI Singapore Management University, Csetijadi@Smu.Edu.Sg

    Ethnic Chinese Film Producers in Pre-Independence Cinema Charlotte SETIJADI Singapore Management University, [email protected]

    CORE Metadata, citation and similar papers at core.ac.uk Provided by Institutional Knowledge at Singapore Management University Singapore Management University Institutional Knowledge at Singapore Management University Research Collection School of Social Sciences School of Social Sciences 9-2010 Imagining “Indonesia”: Ethnic Chinese film producers in pre-independence cinema Charlotte SETIJADI Singapore Management University, [email protected] Thomas BARKER National University of Singapore DOI: https://doi.org/10.1386/ac.21.2.25_1 Follow this and additional works at: https://ink.library.smu.edu.sg/soss_research Part of the Asian Studies Commons, and the Film and Media Studies Commons Citation SETIJADI, Charlotte, & BARKER, Thomas.(2010). Imagining “Indonesia”: Ethnic Chinese film producers in pre-independence cinema. Asian Cinema, 21(2), 25-47. Available at: https://ink.library.smu.edu.sg/soss_research/2784 This Journal Article is brought to you for free and open access by the School of Social Sciences at Institutional Knowledge at Singapore Management University. It has been accepted for inclusion in Research Collection School of Social Sciences by an authorized administrator of Institutional Knowledge at Singapore Management University. For more information, please email [email protected]. Asian Cinema, Volume 21, Number 2, September 2010, pp. 25-47(23) DOI: https://doi.org/10.1386/ac.21.2.25_1 25 Imagining “Indonesia”: Ethnic Chinese Film Producers in Pre-Independence Cinema Charlotte Setijadi-Dunn and Thomas Barker Introduction – Darah dan Doa as the Beginning of Film Nasional? In his 2009 historical anthology of filmmaking in Java 1900-1950, prominent Indonesian film historian Misbach Yusa Biran writes that although production of locally made films began in 1926 and continued until 1949, these films were not based on national consciousness and therefore could not yet be called Indonesian films.
  • Representing Colonial Indonesia in the Films of Saeroen Christopher Woodrich Chris Woodrich@Hotmail.Com

    Representing Colonial Indonesia in the Films of Saeroen Christopher Woodrich Chris [email protected]

    2014 Working Paper Series Volume 1 Between the Village and the City: Representing Colonial Indonesia in the Films of Saeroen Christopher A. Woodrich Editors: David Price and Frank Dhont Recommended Citation: Woodrich, Christopher A. "Between the Village and the City: Representing Colonial Indonesia in the Films of Saeroen." International Indonesia Forum, 2014 Working Paper Series 1 (2014). Between the Village and the City: Representing Colonial Indonesia in the Films of Saeroen Christopher Woodrich [email protected] Abstract: Following the Great Depression, colonial Indonesia was in a flux. The economic shift from a rural agrarian to an urban manufacturing economic base led to increasingly rapid urbanization and the accompanying societal woes. This shift in societal make-up influenced various forms of popular culture, which writers and other creative professionals used to express their opinions – both positive and negative – of the cultural shift. The reporter turned screenwriter Saeroen, a keen social observer who wrote under the name Kampret and was several times arrested for his writings, was no exception. Attached to four film production houses in his four-year screenwriting career (1937–41), Saeroen’s oeuvre included some of the biggest commercial successes of the period and often involved migration from the villages to the cities. Though the majority of Saeroen’s films are now thought lost, enough evidence survives in the form of film reviews, novelizations, and promotional material for a textual analysis of his works and the views contained within. As will be shown, Saeroen’s works, including Terang Boelan, Sorga Ka Toedjoe, Asmara Moerni, and Ajah Berdosa, represent a testament to the experience of abandoning the villages and embracing the cities.
  • Tjerita Di Indonesia

    Tjerita Di Indonesia

    Armijn Pane PRODUKSI FILM 4 TJERITA DI INDONESIA PERKEMBANGANNJA SEBAGAI ALAT MASJARAKAT y % ftU H o y ^ r 8 ^ lo t> , , . ! p H p S i I . .. ^ __MtK Tjetakan chusus madjalah „Indonesia”, no. 1—2, 1953 Peiierbit i Badan Musjawarat Kebudajaan NasionaL pv? 1 : •, \ K A *. N irM il.;,1. »:» ;~A*5Tj*A HAK PENGARANG PADA PENULIS KATA PENGANTAR Sebagai nornor Bali tahun dahulu, tahun ini djugapun kami ingin sekali-sekali menerbitkan nomor jang chusus membitjarakan salah suatu soal dalara lapangan kesenian, ilmu pengetahuan dan filsafat. Karena itulah nomor bulan Djanuari dan Februari tahun 1953 ini kami sediakan untuk suatu soal jang sekarang termasuk salah satu masaalah jang actueel, jaitu soal produksi tjerita film. Sdr. Armijn Pane memandang soal itu integral dengan lapangan-lapang- an kehidupan lainnja, karena menurut pendapatnja, film bukanlah sadja merupakan suatu hasil kesenian, melainkan djuga mendjadi hasil suatu industri. Sebagai hasil kesenian, film itu mendjadi penggabung bermatjam- matjam kesenian lainnja, serta djuga usaha karang-mengarang. Da- lam bentuknja sebagai hasil industri, film terpaut kepada soal-soal ekonomi dan keuangan, serta kepada soal perdagangan ataupun peredaran dan pertundjukan. Lain dari pada itu, film dia pandang sebagai suatu tehnik jang diperoleh dari dunia Barat, karena itu seolah-olah tanaman asing jang ditumbuhkan kepada bumi Indonesia, sebab itu djuga tum- buhnja banjak bergantung kepada ketjintaan dan perhatian si punja kebun. Mudah-mudahan karangan ini dapat mendjadi bahan untuk menggampangkan penjelesaian
  • Bataviaasch Nieuwsblad N.-I

    Bataviaasch Nieuwsblad N.-I

    55e Jaargang Np. 289 Donderdag 31 Oclober 1940 ABONNEMENTSPRIJS : per UITGEEFSTER : /fc9.— kw., fr. p. p. ƒ jo rq BATAVIAASCH NIEUWSBLAD N.-I. Drukkers- en üitg. Mij, buiten Ned.-Indië ƒ 14. BUREAUX : advertentie-tarief : 1—25 woorden ƒ 3.75, Sluisbrugstraat 23 elke 5 woorden meer ƒ 0.75 Balavia-Centrum Regeltarief ƒ 0.50 per regel Wnd.-Hoofdredacteur: Mr. C. J. J. VERSTEEG TELEFOON: AVONDBLAD Directeur : G. MOLENAAR Welt. 2886, 2887, 2883 en 2383 Ons blad van heden R. A. F.-aanvallen op Dodekanesos (Drie bladen) BIJBLADEN Het Tweede h(i ; Buitenlandsche T'sle- — Operaties grammen Buitenlandsch Overzicht" — Uit op beperkte schaal langs de Provincie — Handelsnieuws. Albaneesche grens .Het Derde Blad : Duitschers plunderen Denemarken — Amerika dankt de R. A. F. — Op den Uitkijk — De Filmwereld — De Turkije blijft uitrusting van Militaire Vliegtuigen — Wij voorloopig Neutraal Turkije's Houding zijn een Land in Oorlog !, Radio-rede van J. H. Ritman. nd e n Cairo, 30 Oct. (Reuter). De de . 30 c (Unite d Press). Balkanstaten vertegenwoordigende Ath /.. ? Berichten uit ge- Atnenel° geven bijzonderhedenr over de zanten 'kwamen Dinsdag in het Egypti- aanvallen van de sche departement van De Strijd in Afrika Britste vloot op het gebied Buitenlandsche van de Dodekanesos. Het Zaken bijeen ter bespreking van. de si- tuatie ontstaan door r Za Werd 3 ' Qan den Italiaanschen Aanvallen maa 9 evall en •; het trans- inval in Griekenland. Naar verluidt, der. R. A. F. portdepot, de 'khangars, een verklaarde de Turksche gezant, S e v- dozijn vliegtuigen de Cairo, en k i A 1 h a n, ten aanzien van de ge- 30 Oct.
  • Soerabaijasch Handelsblad

    Soerabaijasch Handelsblad

    No. 171. DONDERDAG, SOERABAIASCH-HANDELSBLAD.24 JULI 1941. 89ste Jaargang, STAAT-. EN LETTERKUNDIG DAGBLAD VAN NEDERLANDSCH-INDIË. Abonnementen worden aangegaan voor volle kalenderkwartalen Uitgeefster ABONNEMENTSPRIJS BIJ VOORUITBETAIJMGj N. V. SOERABAIASCH ÜANDELSBLAD EN DRUKKERIJEN per MAAND ot KWARTAAL. ADVERTENTIE-TARIEF: ƒ O.SO per eenkolom-regel met een van regels Soerabajat Malang: Lawangj Sldoardjos Aloon-Aloonitraat 30 SOERABAIA. minimam 10 (3 c.M.) Ban (11 Familieberichten $ 3.75 per plaatsing ?an 10 regels, voor eiken regel meer t OJO Pasoeroeam en Modjokerto ' extra. * * * ' DIRECTEUR: '**•** !?~ HOOFDREDACTEUR: Teksten worden slechts voor denzelfden dag aanbieding Overl» Nederlandicb.lndlë .... aangenomen bU vóór 10 uur voormiddag. ••••*••#•••» ®.TÖ Buitenlandfinltenland •j 'ft m 11 ..... Ir. J. C. Kolling. de Booy. ïï i 8.50 m ISJSO A. F. OM ABONNEMENT RCIM RABAT. LOSSE NUMMERS 20 CENTS Noord 8018-3018 —8017. Na IcantoortUd: Expeditie 8UI». Dit nummer bestaat uit VIER bladen N. < % ' ' — «Ml fc 4 -L .... Telefoonnummers: Wisselbord 3018 I' ■ Noord —3018 SOl7. Na kantoortUd: Expeditie N. aois. Notities Misschien moet de Japansche ac- tie worden gezien als het uitvloei- sel van een compromis. Er was een Voornaamste Japan eischt groen, welke Rusland wilde aan- Hechte verdediging bij Nieuws vallen en Duitschland doet alle Smolensk mogelijke moeite om Japan tot Tijdens do gevechten ten oosten Het wordt nu ernst met de Ja- actie te brengen. De nieuwe re- van Pskov op 15 Juli j.l. werden pansche door de bedreiging van Indo-Chl- geering, voor een aanval op Rus- Russen geheime Duit- na. De Japansche punt van het nachtelijke leven ln sche documenten buit gemaakt, ambassadeur te land niet voelend, of nog niet 'voe- stad welke instructies bevatten voor het Vichy de richting de kwam.
  • Jan Just Witkam

    Jan Just Witkam

    JAN JUST WITKAM INVENTORY OF THE ORIENTAL MANUSCRIPTS OF THE LIBRARY OF THE UNIVERSITY OF LEIDEN VOLUME 18 MANUSCRIPTS OR. 17.001 – OR. 18.000 REGISTERED IN LEIDEN UNIVERSITY LIBRARY IN THE PERIOD BETWEEN APRIL 1980 AND DECEMBER 1982 TER LUGT PRESS LEIDEN 2016 Illustration front cover: MS Leiden Or. 17.903, ff. 3b-4a, a collection of religious texts, mostly in Malay, originating from Aceh, Indonesia, 19th century. INVENTORIES OF COLLECTIONS OF ORIENTAL MANUSCRIPTS INVENTORY OF THE ORIENTAL MANUSCRIPTS OF THE LIBRARY OF THE UNIVERSITY OF LEIDEN VOLUME 18 MANUSCRIPTS OR. 17.001 – OR. 18.000 REGISTERED IN LEIDEN UNIVERSITY LIBRARY IN THE PERIOD BETWEEN APRIL 1980 AND DECEMBER 1982 COMPILED BY JAN JUST WITKAM PROFESSOR EMERITUS OF PALEOGRAPHY AND CODICOLOGY OF THE ISLAMIC WORLD IN LEIDEN UNIVERSITY INTERPRES LEGATI WARNERIANI EMERITUS TER LUGT PRESS LEIDEN 2016 © Copyright by Jan Just Witkam & Ter Lugt Press, Leiden, The Netherlands, 2016. The form and contents of the present inventory are protected by Dutch and international copyright law and database legislation. All use other than within the framework of the law is forbidden and liable to prosecution. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission of the author and the publisher. First electronic publication: 2016 PREFACE The arrangement of the present volume of the Inventories of Oriental manuscripts in Leiden University Library does not significantly differ from the volumes, which have been published earlier.