Celluloid on paper: RI film books still few in number

Celluloid on paper: RI film books still few in number

By Gotot Prakosa

JAKARTA (JP): A book discussing films from the viewpoint of
the hegemony of power was published recently, another
contribution to the relatively sparse collection of books on film
in Indonesia.

The highly interesting Film, Ideologi dan Militer (Film,
Ideology and the Military), subtitled Hegemoni Militer dalam
Sinema Indonesia (Military Hegemony in the Indonesian Cinema), is
a semiotic analysis of three films.

Written by Budi Irawan and with a foreword by Eros Djaros, the
book seeks to prove that Soeharto's leadership and the military
hegemony was found not only in daily life, but was also
accentuated in Indonesian films. It looks at the films Enam Jam
di Jogja (Six Hours in Jogja), Janur Kuning (Yellow Young Coconut
Leaves) and Serangan Fajar (Attack at Dawn).

As a study, the book encourages the reader to gain a deep
understanding of the train of thought of the writer through a
scene-by-scene analysis of the three films. It is an interesting
discourse which may prompt other thinkers to dwell on the
utilization of films as a medium. A book like this is seldom
found in Indonesia and it is also likely to be the last book on
film published in Indonesia in the 20th century.

Indeed, there are no more than 32 books in the Indonesian
language which have been published on the subject of film since
Indonesia's independence.

Leading the way was Belajar Membuat Film (Learning to Make a
Film) by Tan Sing Hwat, which was first published by NV Pustaka
Penerbit Endang Djakarta in 1954.

In the next year, Balai Pustaka published Tehnik Mengarang
Scenario Pilem (Technique to Write Screenplays) by Mochtar Lubis.
In 1957, the book Artis Film dan Partai Politik (Film Artists and
Political Parties) was published. This book contains the
proceedings of the first film symposium held by the Indonesian
Film Press Association (PERPEFI) at the University of Indonesia
in Jakarta on Sept. 8, 1957.

It is interesting in presenting a heated debate between the
participants on whether a film artist needs a political
consciousness. The book contains names such as D. Suradji, H.
Asby and others whose identities were purged from the history of
Indonesian films because of their alleged involvement in the now
banned Indonesian Communist Party (PKI).

It is a good read because the data and thoughts about those
engaged in the film world regarding political participation and
politics in films. There is also the book Publisistik Film (Film
Mass Communications) by Oey Hong Lee, once the head of the Mass
Communications Department of the School of Law/Social Sciences of
the University of Indonesia.

Published by Jakarta-based Ichtiar in 1965, the book appears
to be the last book on film published during the era of Sukarno,
the country's first president.

It was not until 1982 that another book on the subject was
published. That year, Grafitipers published its 164-page Profil
Dunia Film Indonesia (Profile of the Indonesian Film World) by
Salim Said, adapted from the writer's 1979 university thesis.

In 1983 a book containing articles by Usmar Ismail, collected
by J.E. Siahaan, was published by Sinar Harapan under the title
of Usmar Ismail Mengupas Film (Usmar Ismail Analyzes Films).

This 232-page book, which contains 24 articles previously
published in mass media including Pedoman daily, Mimbar
Indonesia, Intisari, Gelanggang magazines and Sinar Harapan
daily presents a clear picture of Usmar Ismail's thoughts about
films and his views of Indonesia's developing culture.

The screenplay Aku (I) was published four years later. Aku was
written by Sjumandjaja and provided with a foreword by W.S.
Rendra, is based on the life and works of poet Chairil Anwar. The
same year also saw the publication of a book by H. Amura,
Perfilman Di Indonesia Dalam Era Orde Baru (Indonesian Films in
the New Order Era). The publisher was the Mass Communications
Institute of Ibnu Chaldun University, Jakarta.

In 1990, Swear Ros by H. Rosihan Anwar, a diary of the
chairman of the panel of judges of the Indonesian Film Festival,
was published by the steering committee of the festival.

In the same year, Nyoo Han Siang -- Hidup Boleh Berakhir,
Semangat Tetap Berlanjut (Nyoo Han Siang -- Life May End but the
Spirit Lives On) was published. The book, written by Syarif
Hidayat and Kun Syh and edited by Ibnu R. Sarwarno, was published
in memory of Nyoo Han Siang, the founder of Interstudio
Laboratory in Indonesia.

The year 1991 saw the publication of Salim Said's second book,
Pantulan Layar Putih (Reflections of the Silver Screen) by
Pustaka Sinar Harapan, Jakarta. In 1992 the Indonesian
Association of Cinema Owners published a 144-page book called
Dari Gambar Idoep ke Sinepleks (From Motion Pictures to
Cineplexes). In the same year Layar Perak -- 90 Tahun Bioskop di
Indonesia (Silver Screen -- 90 Years of the Cinema in Indonesia)
edited by Haris Jauhari, was published by Gramedia Pustaka Utama,
Jakarta and the National Film Council.

With a foreword by Asrul Sani, the book is a collection of
articles written by Salim Said, WS Rendra, Djohan Tjasmadi and
many others.

In 1993, three books on films were published. One was Televisi
Siaran Teori & Praktek (Television Broadcasting, Theory &
Practice) by Onong Uchjana Effendy with CV Mandar Maju, Bandung,
as the publisher.

The second book is Film Indonesia, a history on Indonesian
film part I, (1900-1950) by Taufik Abdullah, H. Misbach Yusa
Biran and S.M. Ardan, published by the National Film Council.

The third book is Pedoman Praktis Penulisan Skenario Televisi
dan Video (Practical Guide to Television and Video Screenplay
Writing) by P.C.S. Sutisno.

In 1994 Salim Said published his other book, Dari Festival ke
Festival, Film-Film Mancanegara dalam Pembicaraan, (From Festival
to Festival, a Discourse on International Films). The publisher
was Pustaka Sinar Harapan.

In 1995, five books on films were published:Dua Dunia Dalam
Djadoeg Djajakusoema (Two Worlds in Djadoeg Djajakusoema) edited
by Satyagraha Hoerip, published by the Cultural Service of the
Special Region of Capital City of Jakarta and the Jakarta
Institute of Arts.

The other four books are Kekuasaan dan Hiburan (Power and
Entertainment) by Garin Nugroho, Budaya Massa dan Pergeseran
Masyarakat (Mass Culture and Social Shifts) by Veven SP Wardhana,
Suatu Sketsa Perfilman Indonesia (A Sketch of the Indonesian Film
World), a collection of essays by Marselli Sumarno, and Katalogus
Film Indonesia 1926-1995 (Indonesian Film Catalog 1926-1995)
compiled by JB Kristanto and published by the National Film
Advisory Board) and Sinematek Indonesia, Indonesian Cinematheque
and Toyota Foundation.

There was only one book on film published in 1996: Dasar-Dasar
Apresiasi Film (Film Appreciation Principles) written by Marselli
Sumarno.

In 1997, seven books on film were published: Menulis Skenario
Itu (Lebih) Gampang (Filmscript Writing is Easier) by Gola Gong,
Permasalahan Sensor & Pertanggungjawaban Etika Produksi (Problems
of Censorship and Accountability of Production Ethics) by M.
Sarief Arief, Manimbang Kahariady and Yayat Hidayat, Kapitalisme
Televisi dan Strategi Budaya Mass (The Capitalism of Television
and the Strategy of Mass Culture), a collection of articles by
Veven SP Wardhana, Film Pinggiran -- Antologi Film Pendek, Film
Eksperimental & Film Dokumenter (Marginal Films: Anthology of
Short Films, Experimental Films and Documentaries) by Gotot
Prakosa, Apresiasi Film Indonesia 2, (Appreciation of Indonesian
Films 2) which contains 28 articles by different writers from
former president Soeharto to Niki Kosasih, Kamus Kecil Istilah
Film (Small Dictionary of Film Terminology), D.A. Peransi & Film,
a collection of principles on the theory of film, edited by
Marselli Sumarno.

Of the 32 titles, some are technical guidelines on filmmaking
while most of them are a compilation of analysis. Books like
these are important in developing a discourse of systematic
thinking on films. At least they may help students and film
lovers, to evaluate and understand a film.

Short essays by film practitioners or critics can often
introduce aesthetic thoughts in the totality of a film. Indeed,
most film practitioners in Indonesia are not skilled enough in
formulating their ideas in writing, although they are expert
enough to translate these ideas into reality through pictures and
sound.

It is here that the position of a critic is important because
he can serve as a bridge between filmmakers and the viewers.

However, there are some filmmakers who can express their ideas
either in writing or through pictures and sound. In such a case,
it is interesting to keep up with their development so that we
may be able to find out some of their thoughts which cannot be
expressed in cinematic form.

Books on the theory of film esthetics, discussing in detail a
particular topic, are still few in number. It is understandable
because it is only in 1999 that the study of film has begun in
earnest in Indonesia; the film department of the Jakarta
Institute of Arts was not opened until six years ago.

Nevertheless, the publication of a book on film is always
important whether or not it easily digested by the reader. As a
work, a book has its own existence and should therefore be
respected even if we disagree with its content.

In terms of quantity, only a few books on film have been
published during Indonesia's 54 years of independence. It
reflects that film itself has not seen its proper development in
the country. It is strange to note that while film was introduced
in Indonesia in 1900, only 32 titles of books on film have to
date been published. Unfortunately, it fits into the patched-up
history of Indonesia's now ragged film world.