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Arifin Putra 1/6 CURRICULUM VITAE PERSONAL DETAILS Occupation: Ac tor Date of birth: May 1, 1987 Nationality: Indonesian Height: 180 cm Weight: 75 Kg Hair Color: Dark Brown Eye Color: Dark Brown Management: Oxygen Entertainment Email: [email protected] EDUCATION 2003 – 2006 German International School, Jakarta/Indonesia (High School) 1993 - 2003 German International School, Jakarta/ Indonesia (Primary & Secondary School) ABOUT ARIFIN PUTRA Website: www.arifinputra.com Wikipedia ENG: http://en.wikipedia.org/wiki/Arifin_Putra ADVANCED TRAININGS AND WORKSHOPS 2015 Berlinale Talents Acting Studio 2015, Berlin 2010 Margie Haber’s Jakarta Exclusive Acting Workshop, by Margie Haber 2006 University of Cambridge Certification in Advanced English L 2, Jakarta 2005 Sakti Aktor Studio, Intermediate Class, by Eka D. Sitorus, Jakarta 2004 – 2005 Sakti Aktor Studio, Beginner Class, by Eka D. Sitorus, Jakarta Arifin Putra 2/6 FILMOGRAPHY WORK EXPERIENCE AS AN ACTOR FILM 2016 The Professionals (Coming December 2016) Directed by Affandi Abdul Rachman, by MNC Pictures Starring as Reza (Supporting Actor) 2016 Sabtu Bersama Bapak Directed by Monty Tiwa, by Maxima Pictures Starring as Satya (Supporting Actor) 2015 Negeri Van Oranje Directed by Endri Pelita, by Falcon Pcitures Starring as Banjar (Supporting Actor) 2014 Supernova Directed by Rizal Mantovani, by Soraya Intercine Films Starring as Reuben (Supporting Actor) 2014 The Raid 2: Berandal Directed by Gareth Evans, by Merantau Films Starring as Uco (Supporting Actor) 2014 Yasmine: The Final Fist Directed by Siti Kamaluddin, By Origin Films Starring as Halim (Cameo) 2011 Badai Di Ujung Negeri Directed by Agung Sentausa, by Quanta Pictures Starring as Badai (Main Actor) 2011 Batas Directed by Rudi Soedjarwo, by Keana Production Starring as Arief (Supporting Actor) 2010 Rumah Dara Directed by the Mo Brothers, by Nation Pictures Starring as Adam (Supporting Actor) 2008 Lost in Love Directed by Rachmania Arunita, by Itrema Creative Development Starring as Alex (Supporting Actor) Arifin Putra 3/6 TELEVISION 2016 Halfworlds – starring as Barata Kinema, HBO ASIA 2013 Aprillio Dan Julie - starring as Jodi Sinemart Pictures, RCTI 2012 Dewa - starring as Yuda Sinemart Pictures, RCTI 2009 Setinggi Bintang – starring as Andika Multivision Plus, Astro Aruna Malaysia 2007 Mawar – starring as Doni Sinemart Pictures, RCTI 2006 Kau Masih Kekasihku – starring as Kevin Sinemart Pictures, SCTV 2005 Manusia Bodoh – starring as Putra Sinemart, RCTI 2004 Kisah Kasih di Sekolah – starring as Daniel Sinemart Pictures, SCTV 2003 Senandung Masa Puber – starring as Rudi Multivision Plus, Trans TV SHORTS 2013 Blue Blood - Starring as Asep (Main Actor) Directed by Billy Christian 2011 Foxtrot 6 - Starring as Nidas (Supporting Actor) Directed by Randy Korompis 2009 Aku Perempuan – starring as Marwan (Supporting Actor) Directed by Robby Ertanto Soediskam Arifin Putra 4/6 VIDEO CLIPS 2011 Wajahmu Mengingatkanku by Bunga Citra Lestari Main Talent 2011 Bersabarlah Cinta By Letto Main Talent 2004 Kisah Kasih Di Sekolah By Chrisye Main Talent COMMERCIALS 2016 Pond’s Men - BA 2016 Axe Gold - BA 2016 Coca Cola - BA 2016 Neozep Forte – BA 2015 Samsung S6 - KOL THEATER 2005 Mass Appeal by Bill C. Davis Sakti Aktor Studio Starring as Mark Dolson 2005 Lone Star by James Mclure Sakti Aktor Studio Starring as Ray Arifin Putra 5/6 AWARDS AND ACHIEVEMENTS 2015 IMA – Best Supporting Actor for The Raid 2 2015 Piala Maya – Best Supporting Actor for The Raid 2 2011 Kaskus Award (Kufi) - Best Supporting Actor in Macabre / Rumah Dara 2005 Gadis Magazine Award 2005 – Most Wanted 2003 MTV Indonesia VJ Hunt 2003 - Finalist 2000 Aneka Magazine Coverboy 2000 - Finalist Arifin Putra 6/6 ADDITIONAL INFORMATION SKILLS Languages § German (native speaker) § Indonesian (native speaker) § English (excellent) § French (beginner) .

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Sony Pictures Classics and Stage 6 Films to Unleash the Raid 2
SONY PICTURES CLASSICS AND STAGE 6 FILMS TO UNLEASH THE RAID 2 NEW YORK (November 5, 2013) – Sony Pictures Classics and Stage 6 Films announced today that they will theatrically release THE RAID 2 in the United States. The highly-anticipated sequel to the action thriller THE RAID: REDEMPTION, the new film THE RAID 2 was once again written and directed by Gareth Evans. The film was produced by Ario Sagantoro for Merantau Films, and Aram Tertzakian and Nate Bolotin of XYZ Films. The film was executive produced by Rangga Maya Barack-Evans for Merantau Films, Irwan D. Mussry, and Nick Spicer and Todd Brown on behalf of XYZ. Matt Flannery (THE RAID: REDEMPTION) and Dimas Imam Subhono served as cinematographers with Joseph Trapanese (THE BOURNE LEGACY), Aria Prayogi (THE RAID: REDEMPTION) and Fajar Yuskemal (THE RAID: REDEMPTION) scoring the picture. THE RAID: REDEMPTION was released theatrically in March 2012 by Sony Pictures Classics to great success. Currently in post-production, THE RAID 2 picks up right where the first film left off and follows Rama (Iko Uwais) as he goes undercover and infiltrates the ranks of a ruthless Jakarta crime syndicate in order to protect his family and uncover the corruption in his own police force. ABOUT SONY PICTURES CLASSICS Michael Barker and Tom Bernard serve as co-presidents of Sony Pictures Classics—an autonomous division of Sony Pictures Entertainment they founded with Marcie Bloom in January 1992, which distributes, produces, and acquires independent films from around the world. Barker and Bernard have released prestigious films that have won 31 Academy Awards® (27 of those at Sony Pictures Classics) and have garnered 135 Academy Award® nominations (109 at Sony Pictures Classics) including Best Picture nominations for AMOUR, MIDNIGHT IN PARIS, AN EDUCATION, CAPOTE, HOWARDS END, AND CROUCHING TIGER, HIDDEN DRAGON.
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Iko Uwais, Stuber's Villain, Is Hollywood's Next Big Action Star
SUBSCRIBE US Iko Uwais Is Hollywood’s Next Big Martial Arts Star. Just Ask Keanu Reeves and Mark Wahlberg. Hollywood has an action aversion: turning well-choreographed ght scenes into quick-cutting, hand-held cacophonies. Iko Uwais hopes his lms will change that. BY JOSH ST. CLAIR JUL 12, 2019 RENDHA RAIS hen J.J. Abrams resurrected Star Wars, he wanted excitement—and actors who would make the new films fun. For a particular scene in The Force Awakens, when raider assassins board and attempt to hijack the Millennium Falcon from their W galactic target, Han Solo, Abrams wanted action—and actors who could make it feel real. Abrams called on Iko Uwais. It was a fan’s desire as much as it was a director’s request. Abrams, like many in Hollywood, discovered Uwais through his work on The Raid: Redemption, Welsh director Gareth Evans’ Indonesian martial arts film equally inspired by Die Hard, an M.I.A. music video, and the Malay self-defense art form Silat. The Raid became one of the most celebrated action movies of the century and featured hand-to-hand combat to render Jason Bourne a haymaker-throwing street brawler and John Wick a novice MMA fighter. (John Wick star Keanu Reeves was so enthralled by Uwais, he cast him in a small role for his directorial debut, Man of Tai Chi.) Abrams wanted that action. So he called and cast Uwais and Raid co-star Cecep Arif Rahman to hunt down Han. He also asked Uwais to choreograph a lightsaber fight for later in the film.
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Copyright by Hector Enrique Gonzales 2017
Copyright by Hector Enrique Gonzales 2017 The Thesis Committee for Hector Enrique Gonzales Certifies that this is the approved version of the following thesis: NO STUNT DOUBLES! NO CGI! NO WIRES!: A Comparative Study of Thai, Indonesian, and American Martial Arts Cinema. APPROVED BY SUPERVISING COMMITTEE: Supervisor: Kathleen Tyner Andrew Garrison NO STUNT DOUBLES! NO CGI! NO WIRES!: A Comparative Study of Thai, Indonesian, and American Martial Arts Cinema. by Hector Enrique Gonzales Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin December 2017 Dedication I would like to dedicate this Thesis to my family who has supported me through disappointments, heartbreaks, tribulations and triumphs. To my mother and father, I would like to say nothing I have ever done or will do would be if it weren’t for your guidance, patience, and love. Jini, Carol, Myrella, Rick, Martin and all the kids, thank you for everything. This is for you. To my friends and co-workers thank you for supporting me along the way as I indulged myself in this quite silly endeavor. Special thanks to Taylor, Jordan, and Derek, thanks for having my back the last 4 years. To Larry, thank you for the gift of martial arts, it and you have truly changed my life for the better. To Nancy, Geoff, Kathleen, and Andy, thanks for always believing in me and helping me in graduate school as well as professionally and for being my friends.
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Representasi Indonesia Dalam Film-Film Gareth Evans
Tersedia secara online Ghâncaran: Jurnal Pendidikan http://ejournal.iainmadura.ac.id/ghancaran Bahasa dan Sastra Indonesia Volume: 2 Nomor: 1 Juli-2020 Halaman: 64 - 75 GHÂNCARAN: JURNAL PENDIDIKAN BAHASA DAN SASTRA INDONESIA http://ejournal.iainmadura.ac.id/ghancaran E-ISSN : 2715-9132 ; P-ISSN: 2714-8955 DOI 10.19105/ghancaran.v2i1.3188 SINEMA PASCANASIONAL: REPRESENTASI INDONESIA DALAM FILM-FILM GARETH EVANS Rizky Abrian* & Afwin Sulistiawati** *BIPA Universitas Negeri Surabaya **BIPA Universitas Negeri Surabaya Alamat surel: [email protected]*, [email protected]** Abstract Keywords: The emergence of Indonesian films lately is not only initiated by films; Indonesian directors, but also foreign directors. Gareth Evans who representations; postnational is a director from Wales managed to attract the attention of Indonesian film audiences with his films. The phenomenon of foreign directors who created Indonesian films to become representations in the world of international film is something that needs to be studied further.This research is descriptive qualitative because the data, words and sentences, are analyzed based on meaning relations. In analyzing the data, researchers used representation theory and the theory of postnational film, namely by searching for Indonesian representations of what is contained in the film and identifying the condition of postnational films in Evans's films. From the results of the analysis, it was found that there was a representation of Indonesia in films by Evans. The aspect of representation that appeared consisted of several aspects: aspects of the language of communication used in the film, aspects of settings that were raised as the background, aspects of characters based on the names of characters, backgrounds of figures, and the use of silat as a fighting style.
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BAB I PENDAHULUAN A. Latar Belakang Masalah Dalam
BAB I PENDAHULUAN A. Latar Belakang Masalah Dalam kehidupan sehari-hari, media massa merupakan hal yang tidak dapat dipisahkan dari aktivitas masyarakat dan melalui media massa masyarakat banyak mendapat berbagai informasi dan hiburan. Istilah media massa memberikan gambaran mengenai alat komunikasi yang bekerja dalam berbagai skala, mulai dari skala terbatas hingga dapat mencapai dan melibatkan siapa saja di masyarakat, dengan skala yang sangat luas. istilah media massa mengacu kepada sejumlah media yang telah ada sejak puluhan tahun yang lalu dan tetap dipergunakan hingga saat ini.1 Perkembangan media massa dimasyarakat sangatlah pesat seperti surat kabar, televisi, radio, film dan internet adalah contoh media yang populer di masyarakat. Media telah menjadi sumber dominan bukan saja bagi individu untuk memperolah gambaran dan citra realitas sosial, tetapi juga bagi masyarakat. Salah satunya adalah film. Tan dan Wright mengatakan film merupakan salah satu media komunikasi massa, dikatakan sebagai media komunikasi massa, karena merupakan bentuk komunikasi yang menggunakan saluran (media) dalam menghubungkan komunikator dan komunikan secara massal, dalam arti berjumlah banyak, tersebar dimana-mana, khalayaknya heterogen, dan anonim.2 1 Morissan, dkk, teori komunikasi massa, ( bogor : ghalia indonesia, 2010), hlm 1 2 Nawiroh vera, semiotika dalam riset komunikasi, (bogor : ghalia indonesia, 2014), hlm 91 1 2 Film sebagai media komunikasi bisa memberikan berbagai bentuk dampak, baik berupa hiburan, pendidikan, penerangan, pengaruh serta perkembangannya yang sudah menjadi bagian hidup dari kehidupan masyarakat yang menonton. Ketika seseorang menonton sebuah film, maka pesan yang disampaikan oleh film secara tidak langsung akan berperan dalam pembentukan persepsi seseorang terhadap maksud pesan dalam film tersebut, Hal ini dikarenakan Seorang pembuat film merepresentasikan ide-ide yang kemudian dikonversikan dalam sistem tanda dan lambang untuk mencapai efek yang diharapkan.
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‘MERANTAU’ - AN INFORMAL ENTREPRENEURIAL LEARNING PATTERN IN THE CULTURE OF MINANGKABAU TRIBE IN INDONESIA Hafiz Rahman Andalas University, Padang e-mail: [email protected] ABSTRACT The aim of this paper is to expose an informal entrepreneurial learning pattern that is undertaken by the Minangkabau tribe in Indonesia and relate it to cultural dimension and perceived value of a society. This informal entrepreneurial learning pattern is called as ‘Merantau’ - which can simply be meant as ‘to emigrate’, in which the young males (mostly during the ages of 15-20, or even younger) leave their homeland; move to other places nationwide or abroad, and running entrepreneurial activities for their daily life. The existence of merantau as an informal cultural based entrepreneurial learning for the young Minangkabau tribe combined with their cultural dimension and perceived values have contributed to the creation of and bring positive impacts to entrepreneurial culture of the Minangkabau tribe. The Minangkabau tribe, as one of tribes in Indonesia, experiences very supportive social environment in which entrepreneurial culture is recognised as part of the way of life. Therefore, Minangkabau tribe is known as one of the most entrepreneurial tribes in Indonesia. This paper considers perceived value and cultural dimension that may bring consequence to entrepreneurial culture of a society, with particular analysis to Minangkabau tribe in Indonesia. Analysis is undertaken by considering the elements and index of cultural dimension and perceived values of a society that can create and intiate entreprenuerial habits and relate them to entrepreneurship. Result of the analysis shows an evidence that culture of a society also plays an important role to create and maintain entrepreneurial habits and experience of a society.
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PENYUTRADARAAN FILM PENDEK JAWARA Directing of Short Film JAWARA Raka Samudera Jae1, Teddy Hendiawan, S.Ds., M.Sn.2
ISSN : 2355-9349 e-Proceeding of Art & Design : Vol.5, No.3 Desember 2018 | Page 1202 PENYUTRADARAAN FILM PENDEK JAWARA Directing of Short Film JAWARA Raka Samudera Jae1, Teddy Hendiawan, S.Ds., M.Sn.2 1,2Prodi S1 Desain Komunikasi Visual, Fakultas Industri Kreatif, Universitas Telkom [email protected], [email protected] Abstrak Pencak Silat aliran Sera merupakan salah satu bela diri yang belum banyak diketahui oleh masyarakat. Salah satu penyebabnya adalah informasi mengenai Pencak Silat aliran Sera yang kurang dan tertutup. Padahal, pencak Silat aliran Sera sudah banyak diminati di luar negeri. Warga di benua Eropa sudah menyebarluaskan ajarannya disana. Dalam perancangan film fiksi ini, penyutradaan merupakan hal yang penting agar film dapat dibuat dengan konsep dan informasi yang sesuai. Wawancara, observasi, dan studi literatur menjadi metode untuk mencari data, dan pendekatan psikologi naratif sebagai acuan untuk target audiens. Sutradara mengatur konsep dalam film agar informasi tentang Pencak Silat aliran Sera dapat tersampaikan terutama pada masyarakat Bandung. Kata-kata kunci: Pencak Silat, Silat Sera, Film Pendek, Penyutradaraan. Abstract Pencak Silat Sera is one of the martial arts that has not been widely known by the people. One of the causes is information about Pencak Silat Sera that is less and closed. In fact, Pencak Silat Sera already much in demand abroad. European continent has spread their teachings there. In the design of this fiction film, directing is important for the film could be made with the concept and information. Interviews, observations, and literature studies are methods for finding data, and narrative psychological approaches as a reference for the target audience.
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Pesan Moral Dalam Film the Raid Dan the Raid 2 Program
PESAN MORAL DALAM FILM THE RAID DAN THE RAID 2 (Analisis Semiotik Roland Barthes) SKRIPSI Diajukan kepada Universitas Islam Negeri Sunan Ampel Surabaya Guna Memenuhi Salah Satu Persyaratan Memperoleh Gelar Sarjana Dalam Bidang Ilmu Komunikasi (S.Ikom) Oleh: RENNO ANDRE AGUNG PRADANA NIM. B96213106 PROGRAM STUDI ILMU KOMUNIKASI JURUSAN ILMU KOMUNIKASI FAKULTAS DAKWAH DAN KOMUNIKASI UNIVERSITAS ISLAM NEGERI SUNAN AMPEL SURABAYA 2018 ABSTRAK Renno Andre Agung Pradana, B96213106, 2017. pesan Moral Dalam Film The Raid dan The Raid 2 (Analisis Semiotik Roland Barthes). Skripsi program studi Ilmu Komunikasi Jurusan Ilmu Komunikasi Fakultas Dakwah dan Komunikasi UIN Sunan Ampel Surabaya. Kata Kunci: Film, Pesan Moral, Analisis Semiotika Film merupakan serangkaian gambar diam yang bila ditampilkan pada layar, menciptakan ilusi gambar karena bergerak. Film saat ini menjadi hiburan disegala kalangan. Salah satu film yang booming pada tahun 2012 yakni film The Raid, yang kemudian film ini mengeluarkan lanjutannya di seri keduanya di tahun 2014 dengan nama The Raid 2 “berandal”. Film ini merupakan film yang bergenre action yang di dalamnya banyak adegan kekerasan dan pembunuhan yang di sutradarai oleh Gareth Evans. Selain berisikan kekerasan dan pembunuhan, di dalam film ini juga memiliki pesan-pesan moral. Adapun rumusan masalah dalam skrpsi ini, yaitu apa saja penanda (signifier) dan petanda (signified) pesan moral dalam film The Raid dan The Raid 2 berandal ? dan Bagaimana makna penanda (signifier) dan petanda (signified) pesan moral dalam film The Raid dan The Raid 2 berandal ?. adapun penelitian ini menggunakan pendekatan analisis semiotik dengan analisis semiotik Roland Barthes. Pengumpulan data dalam penelitian ini dilakukan dengan pengamatan adegan (scene) pilihan pada film The Raid dan The Raid 2 “berandal”.
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Bab Iv Gambaran Umum Subyek
BAB IV GAMBARAN UMUM SUBYEK PENELITIAN A. Profil Film The Raid 2 Berandal Gambar 4.1 Poster Film The Raid 2 Berandal The Raid 2: Berandal adalah film kejahatan seni beladiri dari Indonesia yang disutradarai oleh Gareth Evans dan dibintangi Iko Uwais. Film ini adalah sekuel dari film the raid. Film ini sebenarnya adalah proyek awal dari keseluruhan cerita film The Raid yang diumumkan tahun 2011 sebelum prekuelnya, namun baru dirilis pada tahun 2014. setelah tayang perdana di Festival Film Sundance pada 21 februari 2014, film The Raid 2: Berandal akhirnya diumumkan tayang serentak di indonesia dan Amerika serikat pada tanggal 28 maret 2014. Iko uwais 28 29 berperan kembali sebagai rama, perwira pemula satuan senjata dan taktik khusus sekaligus seorang calon ayah. Selain itu film ini juga dibintangi Alex abbad, Julie Estelle, Roy marten, Tio pakusadewo, Arifin putra, dan cecep arif rahman.Actor mancanegara dari jepang seperti Ryuhei Matsuda, Kenichi endo dan Kazuki kitamura juga ikut bergabung dalam film ini.52 The Raid 2: Berandal mengisahkan tentang perjuangan Rama(iko uwais), yang ternyata belum usai pasca menuntaskan gembong penjahat, Tama (Ray Sahetapy). 'Di atas langit masih ada langit', itulah ungkapan yang tepat untuk menggambarkan kondisi Rama yang merasa semakin tersudut usai merampungkan tugas pertamanya itu.53 Setelah berhasil keluar hidup-hidup dari pembantaian di sebuah gedung yang dikuasai seorang gangster, rama bertemu dengan bunawar(cok simbara) yang merupakan kepala satuan tugas anti korupsi dijakarta. Awalnya rama mengira bahwa bunawar akan bisa membantunya kembali ke keluarganya dan melanjutkan hidupnya sebagai seorang polisi biasa,tapi ternyata dia salah. Keberhasilannya menghancurkan salah satu kelompok gangster besar itu membuatnya menjadi target yang menakutkan bagi para petinggi korup yang diam-diam terlibat dengan berbagai macam tindakan kotor di ibukota.
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XYZ Films 4223 Glencoe Ave, Suite B 119 Marina Del Rey, California, USA 90292
148 mins – Indonesian/Japanese XYZ Films 4223 Glencoe Ave, Suite B 119 Marina Del Rey, California, USA 90292 THE RAID 2 Starring Rama IKO UWAIS Prakoso YAYAN RUHIAN Uco ARIFIN PUTRA Eka OKA ANTARA Bangun TIO PAKUSADEWO Bejo ALEX ABBAD Hammer Girl JULIE ESTELLE Bunawar COK SIMBARA Filmmakers Writer/Director GARETH EVANS Producers ARIO SAGANTORO NATE BOLOTIN ARAM TERTZAKIAN Executive Producers RANGGA MAYA BARACK-EVANS IRWAN D. MUSSRY NICK SPICER TODD BROWN Directors of Photography MATT FLANNERY DIMAS IMAM SUBHONO Art Department Chief TOMY DWI SETYANTO Editors GARETH EVANS ANDI NOVIANTO Wardrobe Department Chief RINALDI FIKRI ALDIE HARRA THE RAID 2 – Synopsis He thought it was over. After fighting his way out of a building filled with gangsters and madmen – a fight that left the bodies of police and gangsters alike piled in the halls – rookie Jakarta cop Rama thought it was done and he could resume a normal life. He couldn’t have been more wrong. Formidable though they may have been, Rama’s opponents in that fateful building were nothing more than small fish swimming in a pond much larger than he ever dreamed possible. And his triumph over the small fry has attracted the attention of the predators farther up the food chain. His family at risk, Rama has only one choice to protect his infant son and wife: He must go undercover to enter the criminal underworld himself and climb through the hierarchy of competing forces until it leads him to the corrupt politicians and police pulling the strings at the top of the heap. And so Rama begins a new odyssey of violence, a journey that will force him to set aside his own life and history and take on a new identity as the violent offender "Yuda." In prison he must gain the confidence of Uco – the son of a prominent gang kingpin – to join the gang himself, laying his own life on the line in a desperate all-or-nothing gambit to bring the whole rotten enterprise to an end.
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Merantau (2009) La Risposta Indonesiana a Tony Jaa in Una Sensazionale Escalation Di Arti Marziali Intrisa Di Pessimismo
Merantau (2009) La risposta indonesiana a Tony Jaa in una sensazionale escalation di arti marziali intrisa di pessimismo. Un film di Gareth Evans con Iko Uwais, Sisca Jessica, Christine Hakim, Mads Koudal, Yusuf Aulia, Alex Abbad, Yayan Ruhian, Laurent Buson, Donny Alamsyah, Ratna Galih. Genere Azione durata 134 minuti. Produzione Indonesia 2009. Una storia di arti marziali, lotte e iniziazioni. Emanuele Sacchi - www.mymovies.it Yuda lascia la natia Sumatra per compiere il suo merantau, rito di passaggio che prevede un'esperienza di vita nella grande città. Arrivato a Jakarta per trovare lavoro come insegnante di silat, si trova privo del domicilio atteso e, in breve tempo, di fronte a un affare sporco di sfruttamento di ragazze, di fronte al quale Yuda non può tenere gli occhi chiusi. Era dai tempi di Barry Prima, star degli anni Ottanta, che il cinema indonesiano non era ai vertici del cinema di arti marziali. Grazie a un regista gallese, emigrato a Jakarta, e a un talento naturale come Iko Uwais, il silat torna a furoreggiare sugli schermi, in una variante (silat harimau) che attinge fortemente dal muay thai thailandese e dal kung fu cinese. L'ovvio termine di paragone di Uwais, anche per la somiglianza fisica, è Tony Jaa, il piccolo prodigio che ha sconvolto il mondo a colpi di ginocchiate in testa in Ong-Bak. Ma la star indonesiana evolve ulteriormente il lavoro di Jaa, mantenendone la mirabilia cinetica ma aggiungendo credibilità ai momenti in cui è richiesto di recitare e di rappresentare la delusione di un ragazzo pieno di speranze, posto di fronte alla ferocia del mondo.
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Values of Nationalism Through Pencak Silat in Merantau Film
IR - PERPUSTAKAAN UNIVERSITAS AIRLANGGA CHAPTER I INTRODUCTION 1.1.1 Background of the study Indonesia is a country rich in various of traditional cultures that must be preserved. It is not enough to preserve this cultural diversity by studyng about it, but we also need to develop the cultural values and foster them in education. Cultural diversity in Indonesia is a wealth that belongs to the Indonesian people and is not owned by other nations. Therefore, culture must be preserved. According to Koentjaraningrat, culture is "the whole system of ideas, actions and results of human work in the framework of the life of society that is made into human property by learning" (1990: 180). Then according to Hermawan, culture is "the result of the human mind that can be transferred and changed through the learning process" (2001: 10). Therefore the Ministry of Education and Culture seeks to strive for the preservation of Indonesian in order to produce young generations who love their culture. Suwaryo argues that one of these traditional culture is pencak silat and it can be classified into martial arts which have certain patterns and have its own customary behavior. Pencak silat is a concrete human activity in society, which can be observed (2008). Pencak silat is traditional Indonesian martial arts. Pencak silat as part of Indonesian culture developed in line with the history of community development. Pencak silat is one of Indonesia's cultural heritages that deserves to be preserved because pencak silat is one of the unifying tools of the nation and the 1 SKRIPSI VALUES OF NATIONALISM .
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