Indonesian films in hot water again

Indonesian films in hot water again

By Salim Said

A battle is now being waged on Indonesia's pornographic films.
Film expert Salim Said argues that the core of the problem lies
not solely with the censorship agency.

JAKARTA (JP): For observers of the Indonesian film scene, the
adversity that has befallen our national films in the past few
weeks is not at all surprising.

The scathing assault made recently by ulemas (Moslem religious
leaders) against Indonesian films, against the Indonesian Board
of Films Censors and against the minister of information were
actually no more than a repeat of events that had happened in the
past.

The irony is that the present uproar has made us all aware of
the fact that the Indonesian film industry has not really
perished, despite the fact that Indonesian film festivals have
not been held for the past three years. Those annual festivals,
which were previously held each year since 1973, were
discontinued because the number of Indonesian films were minimal,
and because those that were produced were of low quality.

For those who have carefully observed the Indonesian film
scene over the past quarter of a century it must be clear that
the exploitation of sex -- which is what the present uproar is
all about -- is not something that is unrelated to our society's
state of development.

Before 1966, when Indonesian society was relatively isolated
from the world outside, we never worried about films that
exploited sex. Today, now that we have become an integral part of
a world which is becoming increasingly permissive towards all
sorts of taboos, sex has become part of the menu in our mass
media, either the printed, electronic (television, videos and
laser discs) or cinematic fields.

Among all the entertainment fields, however, the cinema is
possessed by one distinctive characteristic which directly
affects the manner of presentation. Among all the existing mass
media it is the only one that is so utterly dependent on the
market. For that reason, the market pressures -- either real and
immediate or anticipated -- impose a direct imprint on the nature
of films.

In the past, the films that determined the market trend were
exclusively imported movies. Thus, at the time when films of the
James Bond genre were flooding Indonesia's movie theaters, here,
too, spy films such as Jakarta, Hong Kong, Macau were produced.
By the same token, when cheap, sexy Italian movies were swamping
this country, Indonesian girls, who were no less daring in
exposing their bodies before the cameras, made their appearance
on the screen. At present, with a multitude of influences that
affect the public taste, Indonesian movies are even more
vulnerable to the growing pressures.

Aside from such external pressures, however, certain other
factors exist that are of no less importance. The film making
process in this country is devised to be a commercial one that is
based on economic principles, totally alien to the artistic
concept. For this reason, it is difficult for Indonesian films to
attract good talent and dedicated people. Moreover, the small
number of talented and dedicated people who are at present
engaged in the film industry have so far failed to persuade
middle class viewers -- educated moviegoers and potential ticket
buyers -- to become regular viewers of Indonesian films.

As a consequence, the Indonesian film industry has been
reduced to a home industry catering to the less discerning
members of society. It is against this kind of background that we
must view the origin of those tasteless films that are currently
becoming the subject of so much criticism. This bad taste in
movies is for instance apparent in the absurd plots, the
exploitation of sadism and violence, the shoddy handling of
technical aspects and from the sensationalist and obscene posters
that advertise the films.

Under such circumstances and in view of the increased
availability of alternative forms of entertainment, Indonesian
films have actually ceased to perform their function as a means
of cultural expression. Proof of this is in the declining numbers
of viewers, which has resulted in fewer movies being made. Yet,
it appears that neither the film industry nor the government are
fully aware of the situation. Their response to the latest
developments has been, not to search for novel ways out of the
current problems, but to continue to produce films that appeal
only to those who are looking for tasteless entertainment. Under
such circumstances the only films that sell are the kind of sex-
exploiting films that have been the object of so much criticism.

If we truly want to see civilized Indonesian films, then the
thing to do is not to ban movies or strengthen the censor board.
The essence of the problem lies neither with the board nor with
its individual members. To put too great an emphasis on the role
of censors would only damage the creativity of our film artists.
But it is precisely the fact that such artists have been absent
from our film industry that is responsible for the promulgation
of pornographic films in this country.

If films are considered important for the growth of our
culture and for safeguarding the morals of Indonesians, then we
should talk about the films before the posters have been put up.
The problem affecting our movies is too complicated to be
discussed only after they are shown. Films require a good deal of
money, talent, good management of funds, an orderly circulation
system, expert marketing as well as appreciation. The advancement
of all these aspects have yet to get our adequate attention. But
without competent handling, only two alternatives will be open to
us: to have Indonesian films that are in bad taste, or to have no
Indonesian films at all.

The writer is a film critic and chairman of the Jakarta Arts
Council.