Tracking back the years: A catalog of local films<\/p>\n
Katalog Film Indonesia 1926-1995
\n J.B. Kristanto
\n PT Grafiasri Mukti, Jakarta, 1995
\n xvii, 425.; 21x27 cm, index<\/p>\n
JAKARTA (JP): \"Film is a social document,\" according to J.B.
\nKristanto. Based on this, Kristanto takes us on a 426 page
\njourney, running through 2261 Indonesian film titles from 1926 to
\n1995. Reading this work should be like flipping through space to
\nvisit bygone places, people and social settings. Unfortunately,
\nit isn't.<\/p>\n
Katalog Film Indonesia 1926-1995 (Catalog of Indonesian Films
\n1926-1995) does offer some insight into Indonesian culture and
\nits dominant social values.<\/p>\n
Only five books on Indonesian film are available at Cinematic
\nIndonesia (Indonesian Film Archives). Therefore, with
\ncontributions from film archivists S.M. Ardan, Harun Suwardi and
\nHaris Jauhari, Kristanto's work is important to the world of
\nIndonesian film and the public.<\/p>\n
Kristanto provides a story abstract for most titles which are
\nvaluable for analyzing the social importance of the films. The
\n1920's film themes focus on discourses about class gender as a
\nsource of conflict. Lily van Java (1928) and Njai Dasima I (1929)
\nare examples.<\/p>\n
East meets West and traditional values versus modern values
\nare prominent themes in the middle of the century. Krisis (1953),
\nfor example, illustrates Indonesia's intense dilemma as a new
\nrepublican state.<\/p>\n
Unfortunately, the message doesn't emanate from Kristanto's
\ncritiques, but from his research.<\/p>\n
Kristanto lists an earlier source, Film Indonesia Bagian I,
\n1900-1950 (Taufik Abdullah, et al, 1993), that provides the
\nanalysis that Kristanto's sporadic notes neglect. In the end,
\nanalysis would be more useful to the reader. Kristanto has
\nshunned including any examination of Indonesian film from other
\nworks, giving the impression that he is so obsessed with
\ngathering data (as described in detail in his introduction), that
\nhe forgot to think critically.<\/p>\n
Nowhere, for example, is there a discussion about the
\nachievements of contemporary Indonesian filmmakers, like the
\ninternationally acclaimed Eros Djarot (Tjoet Nya Dhien, 1986) or
\nGarin Nugroho. (Surat untuk Bidadari, 1992). He also passes over
\nthe history of Indonesian film policy. More important, Kristanto
\nmakes no attempt to relate film trends to the different political
\nperiods in Indonesia. No correlation between themes and the Dutch
\noccupation, the Japanese occupation, the Independence period, the
\nOld Order and the New Order can be found in his book.<\/p>\n
Even if this isn't what Kristanto set out to do, a brief
\nanalysis or critique would illustrate the complexity of film and
\nhow film trends cannot be separated from society, politics and
\neconomics.<\/p>\n
Another weakness of the book is the absence of pictures
\n(except on the cover). Photos of film scenes, actresses and
\nactors, directors, and other prominent film
\nfigures would enliven the book. Photos would also bring to life
\nthe people, places and social settings of each period.<\/p>\n
Although Katalog Film Indonesia is static and void of
\nhistorical perspective, it is a valuable source for researchers
\nand film lovers. Kristanto's compilation should raise awareness
\nof the need to preserve data on film. Film should be recognized
\nas living proof of the changing values and beliefs in Indonesia.<\/p>\n
-- Ami Priyono and Liza Hadiz<\/p>", "url": "https:\/\/jawawa.id\/newsitem\/tracking-back-the-years-a-catalog-of-local-films-1447893297", "image": "" }, "sponsor": "Okusi Associates", "sponsor_url": "https:\/\/okusiassociates.com" }