Military exploits films to strengthen hegemony
By Gotot Prakosa
JAKARTA (JP): A film portrays a society's realities at a given point in time, so goes the famous opinion of prolific film critic Bill Nichols.
Nichols' statement is especially true of documentaries, because these works picture real events and the lives of particular creatures, persons or communities. In short, documentaries always deal with factual events of real life.
The "fact" can either be a factual truth or simply a creation. But if the "fact" concerns public demand, then the filmmaker as a member of society can use the film as a historical justification.
That is what was done by the Old Order government under Sukarno. The regime used documentary films as a medium for their political propaganda.
The New Order regime under Soeharto was even worse in this respect, because it used this art form to build power and to create the perception that the military meant everything to the state. This propaganda served as a warning to the people that any opposition would earn the wrath of the dreaded military, and the people could do nothing to stop the armed forces.
This militaristic image of Indonesia is well described in the book Film, Ideologi dan Militer: Hegemoni Militer dalam Film Indonesia (Film, Ideology and Military: The Military's Hegemony in Indonesian Films) by Budi Irwanto and published by Media Pressindo, Yogyakarta.
The book asserts that in Indonesia, film served not only as a medium of entertainment but also as a medium for the military's hegemony over civilians. Numerous films the New Order government claimed were "historical" portrayed the military's supremacy.
What was surprising was that the public accepted such films. This gives credence to the perception that the military's hegemony over civilians during the 32 years of the New Order regime was deep-rooted.
Civilians were subordinated to the military, which was not only good at shooting but also at dominating the political arena.
During the New Order era, the military used history to justify its dominant role and to marginalize the civilian population.
Heroic films like Janur Kuning (Yellow Coconut Leaf) and Serangan Fajar (Dawn Raid), both directed by Arifin C. Noor and produced during Soeharto's heyday, best illustrate this point. In these films, Soeharto is portrayed as a superhero who deserved presidency.
The military took firm control of the country in 1965, eliminating prodemocracy political parties. When reformation began following Soeharto's downfall last year, the military saw its domination undermined. The revelation of military abuses in Aceh, Ambon, Irian Jaya, Banyuwangi, Kalimantan and Jakarta has opened everyone's eyes to the military's heavy-handed approach to political dissent.
The military's brutality is portrayed in a film titled The Army That Forced Them to Be Violent. This 40-minute film by Tino S. will be screened at Lingkar Mitra Budaya during a film festival that will run until Nov. 14.
The documentary is about student demonstrations in Jakarta that turned violent after security forces resorted to force.
Other documentaries which will be screened at the festival include the Wind of Change series by young directors Srikaton, Riri Reza and Mira Lesmana. These films are about the aftermath of the May 14, 1998 riots in Jakarta; a weary ethnic Chinese community; a family that was destroyed in the violence and an impoverished family with children suffering from thalassemia.