Tracking back the years: A catalog of local films
Tracking back the years: A catalog of local films
Katalog Film Indonesia 1926-1995
J.B. Kristanto
PT Grafiasri Mukti, Jakarta, 1995
xvii, 425.; 21x27 cm, index
JAKARTA (JP): "Film is a social document," according to J.B.
Kristanto. Based on this, Kristanto takes us on a 426 page
journey, running through 2261 Indonesian film titles from 1926 to
1995. Reading this work should be like flipping through space to
visit bygone places, people and social settings. Unfortunately,
it isn't.
Katalog Film Indonesia 1926-1995 (Catalog of Indonesian Films
1926-1995) does offer some insight into Indonesian culture and
its dominant social values.
Only five books on Indonesian film are available at Cinematic
Indonesia (Indonesian Film Archives). Therefore, with
contributions from film archivists S.M. Ardan, Harun Suwardi and
Haris Jauhari, Kristanto's work is important to the world of
Indonesian film and the public.
Kristanto provides a story abstract for most titles which are
valuable for analyzing the social importance of the films. The
1920's film themes focus on discourses about class gender as a
source of conflict. Lily van Java (1928) and Njai Dasima I (1929)
are examples.
East meets West and traditional values versus modern values
are prominent themes in the middle of the century. Krisis (1953),
for example, illustrates Indonesia's intense dilemma as a new
republican state.
Unfortunately, the message doesn't emanate from Kristanto's
critiques, but from his research.
Kristanto lists an earlier source, Film Indonesia Bagian I,
1900-1950 (Taufik Abdullah, et al, 1993), that provides the
analysis that Kristanto's sporadic notes neglect. In the end,
analysis would be more useful to the reader. Kristanto has
shunned including any examination of Indonesian film from other
works, giving the impression that he is so obsessed with
gathering data (as described in detail in his introduction), that
he forgot to think critically.
Nowhere, for example, is there a discussion about the
achievements of contemporary Indonesian filmmakers, like the
internationally acclaimed Eros Djarot (Tjoet Nya Dhien, 1986) or
Garin Nugroho. (Surat untuk Bidadari, 1992). He also passes over
the history of Indonesian film policy. More important, Kristanto
makes no attempt to relate film trends to the different political
periods in Indonesia. No correlation between themes and the Dutch
occupation, the Japanese occupation, the Independence period, the
Old Order and the New Order can be found in his book.
Even if this isn't what Kristanto set out to do, a brief
analysis or critique would illustrate the complexity of film and
how film trends cannot be separated from society, politics and
economics.
Another weakness of the book is the absence of pictures
(except on the cover). Photos of film scenes, actresses and
actors, directors, and other prominent film
figures would enliven the book. Photos would also bring to life
the people, places and social settings of each period.
Although Katalog Film Indonesia is static and void of
historical perspective, it is a valuable source for researchers
and film lovers. Kristanto's compilation should raise awareness
of the need to preserve data on film. Film should be recognized
as living proof of the changing values and beliefs in Indonesia.
-- Ami Priyono and Liza Hadiz