Indonesian films in hot water again<\/p>\n
By Salim Said<\/p>\n
A battle is now being waged on Indonesia's pornographic films.
\nFilm expert Salim Said argues that the core of the problem lies
\nnot solely with the censorship agency.<\/p>\n
JAKARTA (JP): For observers of the Indonesian film scene, the
\nadversity that has befallen our national films in the past few
\nweeks is not at all surprising.<\/p>\n
The scathing assault made recently by ulemas (Moslem religious
\nleaders) against Indonesian films, against the Indonesian Board
\nof Films Censors and against the minister of information were
\nactually no more than a repeat of events that had happened in the
\npast.<\/p>\n
The irony is that the present uproar has made us all aware of
\nthe fact that the Indonesian film industry has not really
\nperished, despite the fact that Indonesian film festivals have
\nnot been held for the past three years. Those annual festivals,
\nwhich were previously held each year since 1973, were
\ndiscontinued because the number of Indonesian films were minimal,
\nand because those that were produced were of low quality.<\/p>\n
For those who have carefully observed the Indonesian film
\nscene over the past quarter of a century it must be clear that
\nthe exploitation of sex -- which is what the present uproar is
\nall about -- is not something that is unrelated to our society's
\nstate of development.<\/p>\n
Before 1966, when Indonesian society was relatively isolated
\nfrom the world outside, we never worried about films that
\nexploited sex. Today, now that we have become an integral part of
\na world which is becoming increasingly permissive towards all
\nsorts of taboos, sex has become part of the menu in our mass
\nmedia, either the printed, electronic (television, videos and
\nlaser discs) or cinematic fields.<\/p>\n
Among all the entertainment fields, however, the cinema is
\npossessed by one distinctive characteristic which directly
\naffects the manner of presentation. Among all the existing mass
\nmedia it is the only one that is so utterly dependent on the
\nmarket. For that reason, the market pressures -- either real and
\nimmediate or anticipated -- impose a direct imprint on the nature
\nof films.<\/p>\n
In the past, the films that determined the market trend were
\nexclusively imported movies. Thus, at the time when films of the
\nJames Bond genre were flooding Indonesia's movie theaters, here,
\ntoo, spy films such as Jakarta, Hong Kong, Macau were produced.
\nBy the same token, when cheap, sexy Italian movies were swamping
\nthis country, Indonesian girls, who were no less daring in
\nexposing their bodies before the cameras, made their appearance
\non the screen. At present, with a multitude of influences that
\naffect the public taste, Indonesian movies are even more
\nvulnerable to the growing pressures.<\/p>\n
Aside from such external pressures, however, certain other
\nfactors exist that are of no less importance. The film making
\nprocess in this country is devised to be a commercial one that is
\nbased on economic principles, totally alien to the artistic
\nconcept. For this reason, it is difficult for Indonesian films to
\nattract good talent and dedicated people. Moreover, the small
\nnumber of talented and dedicated people who are at present
\nengaged in the film industry have so far failed to persuade
\nmiddle class viewers -- educated moviegoers and potential ticket
\nbuyers -- to become regular viewers of Indonesian films.<\/p>\n
As a consequence, the Indonesian film industry has been
\nreduced to a home industry catering to the less discerning
\nmembers of society. It is against this kind of background that we
\nmust view the origin of those tasteless films that are currently
\nbecoming the subject of so much criticism. This bad taste in
\nmovies is for instance apparent in the absurd plots, the
\nexploitation of sadism and violence, the shoddy handling of
\ntechnical aspects and from the sensationalist and obscene posters
\nthat advertise the films.<\/p>\n
Under such circumstances and in view of the increased
\navailability of alternative forms of entertainment, Indonesian
\nfilms have actually ceased to perform their function as a means
\nof cultural expression. Proof of this is in the declining numbers
\nof viewers, which has resulted in fewer movies being made. Yet,
\nit appears that neither the film industry nor the government are
\nfully aware of the situation. Their response to the latest
\ndevelopments has been, not to search for novel ways out of the
\ncurrent problems, but to continue to produce films that appeal
\nonly to those who are looking for tasteless entertainment. Under
\nsuch circumstances the only films that sell are the kind of sex-
\nexploiting films that have been the object of so much criticism.<\/p>\n
If we truly want to see civilized Indonesian films, then the
\nthing to do is not to ban movies or strengthen the censor board.
\nThe essence of the problem lies neither with the board nor with
\nits individual members. To put too great an emphasis on the role
\nof censors would only damage the creativity of our film artists.
\nBut it is precisely the fact that such artists have been absent
\nfrom our film industry that is responsible for the promulgation
\nof pornographic films in this country.<\/p>\n
If films are considered important for the growth of our
\nculture and for safeguarding the morals of Indonesians, then we
\nshould talk about the films before the posters have been put up.
\nThe problem affecting our movies is too complicated to be
\ndiscussed only after they are shown. Films require a good deal of
\nmoney, talent, good management of funds, an orderly circulation
\nsystem, expert marketing as well as appreciation. The advancement
\nof all these aspects have yet to get our adequate attention. But
\nwithout competent handling, only two alternatives will be open to
\nus: to have Indonesian films that are in bad taste, or to have no
\nIndonesian films at all.<\/p>\n
The writer is a film critic and chairman of the Jakarta Arts
\nCouncil.<\/p>",
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