Making films in hard times<\/p>\n
By Brillianto K. Jaya<\/p>\n
JAKARTA (JP): The national film industry is dying.<\/p>\n
This statement is heard repeatedly these days, and the reason
\nis obvious. One just has to look at the sharp decline in the
\nnumber of new national films.<\/p>\n
The same time-honored excuses are put forward, that this
\ncountry lacks human resources in the film industry, and that the
\nindustry's development has been hampered by Subentra's Group 21
\nchain of cinemas, which controls film distribution.<\/p>\n
The year of 1977 saw 133 new film titles -- the highest
\nproduction rate in the country's history. In the 1980s, more than
\n50 titles were produced a year. There were 110 titles released in
\n1990, but then the number declined sharply.<\/p>\n
While in 1991 film producers still turned out 61 titles, in
\n1995 there were only 27 titles and last year saw only 24 new
\nfilms. It is more disheartening to note that, since 1993, most
\nnational films have focused mainly on sexual themes.<\/p>\n
Shanty Herman, a film producer, said the decline of the film
\nindustry is due to a lack of human resources.<\/p>\n
\"Even though there are only a few film schools here, we have
\nquite a lot of people gifted in film-making.<\/p>\n
\"The real problem is that there are no producers to push those
\ngifted people to keep making progress,\" said Herman, the producer
\nof acclaimed TV drama documentary Anak Seribu Pulau (Children of
\nthe Archipelago).<\/p>\n
Another producer, Harun Suwardi, said Group 21's monopoly was
\na great burden on the nation's film industry.<\/p>\n
\"The monopoly has robbed national films of screening
\nopportunities. If films screened at the cinemas in the Group 21
\nnetwork are considered unsuccessful, they will be replaced with
\nother films,\" said Suwardi, who also teaches in the School of
\nFilm and Television at the Jakarta Institute of the Arts.<\/p>\n
He gave the example of Langitku Rumahku (My Sky My Home),
\nwhich lasted only three days in the cinema chain because audience
\nnumbers were below the minimum required.<\/p>\n
Some industry sources, however, believe the main problem is
\nthat gifted film makers are reluctant to make commercial films
\ncatering simply to mass appeal, preferring to make films
\naccording to their own interests.<\/p>\n
Debates on the merits of commercial and more \"idealistic\"
\nfilms have been going on for a considerable time among the
\nnations film makers. In his book Seni, Tradisi dan Masyarakat
\n(Arts, Tradition and Society, 1981), Umar Kayam explains that
\ncommercial and idealistic qualities are both required in the
\ndevelopment of the film world. The problem, however, is that the
\ngrowth of the film world does not necessarily reflect the growth
\nof society.<\/p>\n
The plot pattern employed in mainstream feature films is
\nconsidered too conventional, leading to the emergence of
\nalternative styles.<\/p>\n
Daun di Atas Bantal (Leaf on a Pillow) is an example of a less
\nconventional film. The director, Garin Nugroho, who was awarded a
\nWirakarya medal of merit by President B.J. Habibie on National
\nFilm Day on March 30, does not subscribe to the usual narrative
\npattern. This conventional formula presents a problem, which
\nleads to conflict and resolution.<\/p>\n
There is a problem exposed in the film, that of a syndicate
\ncashing in on the death of street children by claiming on
\ninsurance. However, the film is open-ended, in that in terms of
\nconflict and resolution, it lets viewers make their own
\nconclusions. Besides, Daun does not contain a formulaic emotional
\nstructure.<\/p>\n
\"What audiences need now is an interesting film combining the
\nelements of arts and market tastes,\" said Harun.<\/p>\n
\"In reality, however, there is a striking difference between
\nthese two elements. A highly idealistic artistic film will be too
\ndifficult for the majority of film viewers, while a film solely
\noriented to the market will usually pay little heed to
\nesthetics.<\/p>\n
\"The films produced lately are experimental in nature. That's
\nwhy the national film market is now very sluggish. It is the job
\nof film makers to revive the national film market by making
\ninteresting films blending arts with market appeal.\"<\/p>\n
Mira Lesmana, who represents the younger generation of the
\nnational film world, has indirectly confirmed Harun's analysis.
\nDespite the popular flavor of Kuldesak (Cul-de-sac), made by Mira
\nand three others, it is not a film easily accessible to the wider
\naudience. It remains an artistic film.<\/p>\n
Fewer people have turned out to see Kuldesak than Daun. Even
\nat the Asian Film Festival at Deauville, France, the film di not
\nenjoy a good response from France's film enthusiasts.<\/p>\n
Although Kuldesak is considered a non-commercial film, Mira
\npersists in her desire to produce a film with market appeal that
\nretains its artistic integrity. She says the middle classes are
\nher prime target audience.<\/p>\n
\"Middle-class people have quite a strong purchasing power.
\nThey are willing to fork out some money for entertainment,\" said
\nMira, who's husband is noted film actor Mathias Muchus.<\/p>\n
\"Besides, people of this social class are also both
\nintellectually critical and keen on exploring novel things.\"<\/p>\n
The optimism that Mira and her peers show in their resolve to
\nrevive the national film industry is indeed praiseworthy.
\nHowever, the question is whether it is feasible to make films
\nwhen the country is still in a deep monetary crisis.<\/p>\n
\"It is realistic,\" Shanty said firmly. \"It is obviously
\ndifficult to make a film which can easily lure a lot of viewers.
\nKuldesak is a test case. What counts in this respect is that we
\ndo something. I therefore believe that it is quite realistic to
\nmake a film even when the country is hit by an acute crisis.\"<\/p>\n
According to Shanty, to produce a film in hard times, film
\nmakers must cooperate with each other. \"In this respect, film
\nworkers must not only help one another but they must also
\nestablish cooperation with the government. The government may
\nprovide financial assistance or simplify the bureaucratic
\nprocedures in film production.\"<\/p>\n
Mira said film production would remain realistic if everyone
\ninvolved in the industry -- including investors, distributors,
\ncinema owners and the government -- joined forces. \"The most
\nimportant thing is to scrap bureaucracy, monopoly and
\ncensorship,\" she added.<\/p>\n
Harun shares Mira's optimism and is of the opinion that
\ndespite the deep economic crisis, producing films remains a
\nrealistic undertaking. \"Films as entertainment will be needed all
\nthe time,\" he said.<\/p>\n
And President B.J. Habibie, to prove his commitment to revive
\nthe national film industry, has said the government will scrap
\nthe tax on the showing of films as a first step.<\/p>",
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