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.