Military exploits films to strengthen hegemony<\/p>\n
By Gotot Prakosa<\/p>\n
JAKARTA (JP): A film portrays a society's realities at a given
\npoint in time, so goes the famous opinion of prolific film critic
\nBill Nichols.<\/p>\n
Nichols' statement is especially true of documentaries,
\nbecause these works picture real events and the lives of
\nparticular creatures, persons or communities. In short,
\ndocumentaries always deal with factual events of real life.<\/p>\n
The \"fact\" can either be a factual truth or simply a creation.
\nBut if the \"fact\" concerns public demand, then the filmmaker as a
\nmember of society can use the film as a historical justification.<\/p>\n
That is what was done by the Old Order government under
\nSukarno. The regime used documentary films as a medium for their
\npolitical propaganda.<\/p>\n
The New Order regime under Soeharto was even worse in this
\nrespect, because it used this art form to build power and to
\ncreate the perception that the military meant everything to the
\nstate. This propaganda served as a warning to the people that any
\nopposition would earn the wrath of the dreaded military, and the
\npeople could do nothing to stop the armed forces.<\/p>\n
This militaristic image of Indonesia is well described in the
\nbook Film, Ideologi dan Militer: Hegemoni Militer dalam Film
\nIndonesia (Film, Ideology and Military: The Military's Hegemony
\nin Indonesian Films) by Budi Irwanto and published by Media
\nPressindo, Yogyakarta.<\/p>\n
The book asserts that in Indonesia, film served not only as a
\nmedium of entertainment but also as a medium for the military's
\nhegemony over civilians. Numerous films the New Order government
\nclaimed were \"historical\" portrayed the military's supremacy.<\/p>\n
What was surprising was that the public accepted such films.
\nThis gives credence to the perception that the military's
\nhegemony over civilians during the 32 years of the New Order
\nregime was deep-rooted.<\/p>\n
Civilians were subordinated to the military, which was not
\nonly good at shooting but also at dominating the political arena.<\/p>\n
During the New Order era, the military used history to justify
\nits dominant role and to marginalize the civilian population.<\/p>\n
Heroic films like Janur Kuning (Yellow Coconut Leaf) and
\nSerangan Fajar (Dawn Raid), both directed by Arifin C. Noor and
\nproduced during Soeharto's heyday, best illustrate this point. In
\nthese films, Soeharto is portrayed as a superhero who deserved
\npresidency.<\/p>\n
The military took firm control of the country in 1965,
\neliminating prodemocracy political parties. When reformation
\nbegan following Soeharto's downfall last year, the military saw
\nits domination undermined. The revelation of military abuses in
\nAceh, Ambon, Irian Jaya, Banyuwangi, Kalimantan and Jakarta has
\nopened everyone's eyes to the military's heavy-handed approach to
\npolitical dissent.<\/p>\n
The military's brutality is portrayed in a film titled The
\nArmy That Forced Them to Be Violent. This 40-minute film by Tino
\nS. will be screened at Lingkar Mitra Budaya during a film
\nfestival that will run until Nov. 14.<\/p>\n
The documentary is about student demonstrations in Jakarta
\nthat turned violent after security forces resorted to force.<\/p>\n
Other documentaries which will be screened at the festival
\ninclude the Wind of Change series by young directors Srikaton,
\nRiri Reza and Mira Lesmana. These films are about the aftermath
\nof the May 14, 1998 riots in Jakarta; a weary ethnic Chinese
\ncommunity; a family that was destroyed in the violence and an
\nimpoverished family with children suffering from thalassemia.<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/military-exploits-films-to-strengthen-hegemony-1447893297",
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"sponsor": "Okusi Associates",
"sponsor_url": "https:\/\/okusiassociates.com"
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