Cinema of Indonesia
Cinema of Indonesia | |
---|---|
No. of screens | 2088 (2022)[1] |
Produced feature films (2022)[2] | |
Total | 126 |
Number of admissions (2018)[3] | |
Total | 51,100,000 |
Gross box office (2017)[4] | |
Total | $345 million |
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The cinema of Indonesia refers to films produced domestically in Indonesia. The statutory Indonesian Film Board , or BPI, defines Indonesian films as "movies that are made by or using Indonesian resources whose Intellectual Property Right is owned either entirely or partly by Indonesian citizen or Indonesian legal entity".[5]
Cinema in Indonesia dates back to the early 1900s.
Indonesian cinema began dominating most movie theaters in big cities in the 1980s and started to compete in international film festivals. Around this era, young stars like Onky Alexander, Meriam Bellina, Lydia Kandou, Nike Ardilla, Paramitha Rusady, and Desy Ratnasari dominated the silver screen with films like Catatan si Boy (Boy's Diary) and Blok M.
Indonesian film slowly lost its place and popularity due to the domination of Hollywood and foreign films in movie theaters throughout the 1990s. In the wake of the Indonesian financial crisis and political movements, the industry struggled to raise public interest in attending movie theaters, and most films stuck to teenage dramas, horror, and adult genres. After the Reform in the beginning of 2000, the Indonesian film industry was strengthened by a growing number of young filmmakers. While the industry was still adjusting to the new constitutions, Indonesian cinema started to reconstruct its identity and regain its former popularity.
The film industry is currently the fastest-growing subsector of Indonesia's creative economy.
History
Colonial era
The first showing of films in the Dutch East Indies was in 1900,[6] and over the next twenty years, foreign productions—which were mostly from the United States—were imported and shown throughout the country.[15] Domestic production of documentaries began in 1911[7] but were unable to compete with imported works.[15] By 1923, a local feature film production spearheaded by the Middle East Film Co. was announced, but the work was not completed.[16]
The first domestically produced film in the Indies was Loetoeng Kasaroeng, a 1926 silent film by Dutch director L. Heuveldorp. This adaptation of the Sundanese legend was made with local actors by the NV Java Film Company in Bandung and premiered on 31 December 1926 at the Elite and Majestic Theatres in Bandung.[8] The following year, G. Krugers—who had served as a technician and cinematographer for Loetoeng Kasaroeng[17]—released his directorial debut (the second film in the Indies), Eulis Atjih. Owing to Loetoeng Kasaroeng's limited release, Kruger was able to advertise his film as the colony's first.[18] A year later, the second novel to be adapted to film in Indonesia, Setangan Berloemoer Darah, was produced by Tan Boen Soan.[19]
Ethnic Chinese directors and producers, capitalising on the success of films produced in Shanghai, China, became involved in the colony's cinema beginning in 1928, when Nelson Wong completed Lily van Java.[20][21] Although the Wongs went on hiatus, other ethnic Chinese became involved in film. Several Chinese-owned start-ups are recorded from 1929 onward, including Nancing Film with Resia Boroboedoer (1928) and Tan's Film with Njai Dasima (1929).[22] By the early 1930s, Chinese-owned businesses were the dominating force in the country's film industry.[23]
After the
In an attempt to show that locally produced, well-made films could be profitable, the Dutch journalist
The triple successes of Terang Boelan,
Japanese occupation
After its genesis during the
Local Japanese-sponsored film production (other than newsreels) remained essentially negligible, and the domestic exhibition market was too underdeveloped to be financially viable. However, Nichi'ei's occupation of the Indonesian film industry was a strategic victory over the West, demonstrating that a non-Western Asian nation could displace Hollywood and the Dutch. Indonesia was one of the last areas in the empire to surrender, and many who worked at Nichi'ei stayed on after defeat to work for Indonesian independence from the Dutch.[38]
Korean director Hae Yeong (or Hinatsu Eitaro) migrated to Java from Korea in 1945, where he made the controversial documentary Calling Australia (豪州の呼び声, 1944). Calling Australia was commissioned by the Imperial Japanese Army and depicted Japanese prisoner of war camps in a positive light, showing prisoners feasting on steak and beer, swimming, and playing sports. After the war, the film caused such a stir that the Netherlands Indies Film Unit rushed into production of the counterpoint film Nippon Presents (1945), which used some of the P.O.W.s from Calling Australia to reject that film's viewpoint. Two decades later, Australian filmmaker Graham Shirley assembled the remaining survivors to make Prisoners of Propaganda (1987), yet another documentary about how, in his view, both regimes had conspired to exploit the prisoners each for their own purposes.[38] After the war, Hae changed his name to Dr. Huyung, married an Indonesian woman with whom he had two sons, and directed three films before his death in 1952: Between Sky and Earth (1951), Gladis Olah Raga (1951), and Bunga Rumar Makan (1952).
After independence
After independence, the Sukarno government used the film industry for nationalistic, anti-imperialist purposes and foreign film imports were banned. After the overthrow of Sukarno by Suharto's New Order regime, films were regulated through a censorship code that aimed to maintain the social order and Suharto's grip on society.[39] Usmar Ismail, a director from West Sumatra, made a major impact in Indonesian film in the 1950s and 1960s through his company Perfini.[40] Djamaluddin Malik's Persari Film often emulated American genre films and the working practices of the Hollywood studio system, as well as remaking popular Indian films.[41]
In the late 1950s, a number of political aspects impacted the film industry, not only in production but also in distribution. Threats of burning the movie theaters and film boycotts by anti-imperialist movements meant that the profit for movie theaters dropped drastically. In 1954, a first Indonesian superhero film, Sri Asih, was made.[42] This film was directed by Tan Sing Hwat, and starred Turino Djunaedy and Mimi Mariani as Sri Asih.[42] Around 1964 there were 700 movie theaters in Indonesia, which fell to 350 in 1965. The post-independence era was greatly influenced by the 30 September Movement, which led to a dilemma for local movie theater owners when the local films produced weren't enough to fill the program slot. The economic crash had put the growing industry on hold and paralyzed people's purchasing power; however, at the end of the 1960s, the film industry had survived mostly because of popular foreign imports.
1980s
The industry reached its peak in the 1980s, with successful films such as
1990s
By the 1990s, imports of foreign films resumed, and the quantity of Indonesian films was reduced due to competition, especially from the United States and Hong Kong. The number of movies produced decreased significantly, from 115 in 1990 to 37 in 1993.[46]
In 1992, the Law Number 8 on Film categorized production as a non-obligatory activity and lifted the requirement of production permits. These permits had previously served as a connection between filmmakers and production houses and the government. As a result, data on film production—both commercial and independent—decreased in number and accuracy throughout the 1990s.[citation needed]
Rampant
2000s
Under the Reform era, independent filmmaking lead to a rebirth of the film industry in Indonesia, where films started addressing previously banned topics such as religion, race, and love.[39]
The number of domestic films made increased from six in 2001 to ten in 2002. It continued to increase significantly as the years passed on. Notable films included
Ayat-Ayat Cinta (2008), directed by Hanung Bramantyo, was notable in that it attracted Muslim audiences like never before in Indonesian film history, thanks to its narrative crossover between Islam and modern romance.[47]
In 2009, Infinite Frameworks released their first full-length animation movie Sing to the Dawn (Meraih Mimpi). The movie itself features some foreigners, but all artists and dubbers were Indonesian, with most of the dubbers being celebrities such as Gita Gutawa, Surya Saputra, and Jajang C. Noer.
2010s
From 2010 to 2011, due to the substantial increase in value-added tax (VAT) applied to foreign films, cinemas no longer had access to many foreign films. This has caused a massive ripple effect on the country's economy. It is assumed that this increased the purchasing of unlicensed DVDs.[citation needed] In 2011, the minimum cost to view a foreign film not screened locally was IDR 1,000,000, equivalent to US$100, as it included a plane ticket to Singapore.[48]
The Indonesian film market is in the C, D, and E classes,[
Since 2011, locally made films were increasingly critically acclaimed. This was attested by the international release of films such as
Indonesian horror films, particularly the work of director Joko Anwar, attracted international attention in the 2010s, aided by streaming services. The Queen of Black Magic, Satan's Slaves, and Impetigore have been perceived as part of a new wave of folk horror films from Southeast Asia.[53][54]
During the decade, Indonesian cinema experienced significant improvements in industry production and distribution compared to previous decades. New associations appeared to support production, and new movie theaters were constructed in areas outside the island of Java.
Domestically, the government's efforts to promote local films with the regulation of Law Number 33 on Film in 2009 had a positive impact on the development of the industry. Article 10 explained that film activities and show business actors must prioritize Indonesian films, and prioritize the use of domestic power sources. Additionally, Article 12 clarifies that actors are prohibited from showing films from only one production house, and imported films are prohibited from exceeding 50% of the showing hours within six consecutive months in order to avoid monopolistic practices or external competition.[citation needed]
Indonesian films increasingly appeared at international festivals. The decade also saw an increase in film collaboration with other countries in distribution and production.
2020s
The COVID-19 pandemic in early 2020 paralyzed the domestic and foreign film industry. Indonesia became one of the countries with the highest infection rate in the world in July 2021, with around 44,700 active cases.[citation needed] This forced the government to make an emergency decision to enforce restrictions on community activities (PPKM), namely the restriction of various group activities. As a result, film-making activities were ordered to be closed or temporarily suspended nationally from mid-March 2020. Nationally, 68 cinemas were closed: 387 screens spread across 33 cities and 15 provinces in Indonesia.
Although limited by the obligation to keep distance and work online, Indonesian filmmakers have not stopped writing and making films, and production house entrepreneurs continue working through online platforms. These adaptations paralleled the rise in popularity of online
In this decade, Indonesian films gained widespread attention from the international public especially at International Film Festivals, where
, along with several other films actively screened and toured throughout international festivals. From Netflix streaming as well, The Big 4 directed by Timo Tjahjanto also received widespread international public recognition by topping the global movie chart for several weeks.[citation needed]Film festivals
The major film festival of Indonesia is the Jakarta International Film Festival (JiFFest), held every year in December since 1999.[55] The eighth festival began on 8 December 2006,[citation needed] with Babel, a film starring Brad Pitt and Cate Blanchett.[relevant?] The festival experienced a two-year hiatus in 2011 and 2012, but resumed in 2013.[56]
Jakarta also hosted film festivals such as the 52nd Asia-Pacific Film Festival (APFF) on 18–22 November 2008.[57]
Another event is the
National film market
Movie theaters
Records show that there were movie theatres named as Oriental and Elita during 1926 in Bandung.[9][10] The earliest cinema hall in Jakarta was the Alhamra Theater at Sawah Besar, which was established in 1931. Other old cinema halls in Jakarta were the Astoria, Grand, Metropole, Rex, Capitol, Rivoli, Central, and Orion.[11]
As of 2019, there were about 2,000 screens in Indonesia, which was expected to reach 3,000 by 2020.[1]
The largest cinema chain in Indonesia is 21 Cineplex, which has cinemas spread throughout Indonesia. Founded in 1987, Cinema XXI currently (as of July 2023) operates 1,235 screens across 230 theaters in 71 cities, with a target of reaching 2,000 screens within the next five years. It has three separate brands to target different markets: Cinema 21, Cinema XXI, and The Premiere. Since 2012, Cinema 21 outlets are gradually being renovated to become Cinema XXI.
Another cinema chain is
In May 2017, Agung Sedayu Group opened FLIX Cinema, with its first outlet at PIK Avenue, North Jakarta. Three months later, it opened its second outlet at Grand Galaxy Park, Bekasi. It plans to open outlets at District 8 Shopping Centre, South Jakarta, and the Mall of Indonesia, North Jakarta (replacing CGV).
Many smaller independent cinemas also exist, such as Platinum, New Star, BES Cinema, Surya Yudha Cinema, and Dakota Cinema.
Movie-goers
In the regulation of the Minister of Education and Culture of the Republic of Indonesia Number 34 of 2019 concerning the Circulation, Performance, Export and Import of Films, Article 17 explains the need for monthly notification of the number of viewers of a film through a data collection system in order to carry out functions in the field of cinema development. This data collection is carried out digitally. For each film entered in national cinemas, including local films and imported films, it includes the audience gains based on show hours and detailed locations.
Year | Movie-goers |
2011 | 15,565,132 |
2012 | 18,887,258 |
2013 | 12,716,790 |
2014 | 15,657,406 |
2016 | 34,088,298 |
2017 | 39,135,910 |
See also
- Cinema of Asia
- Cinema of the world
- Culture of Indonesia
- Media of Indonesia
- Southeast Asian cinema
- World cinema
References
- ^ a b c d "Penonton di Bioskop Membludak, GPBSI Yakin Industri Perfilman Indonesia Akan Membaik". Kontan. Retrieved 9 March 2023.
- ^ "Daftar film berdasarkan tahun "2022"".
- ^ "Table 11: Exhibition – Admissions & Gross Box Office (GBO)". UNESCO Institute for Statistics. Archived from the original on 3 November 2013. Retrieved 5 November 2013.
- ^ "Indonesia the next biggest box office market". Film Journal. Archived from the original on 27 November 2018. Retrieved 11 December 2017.
- ^ "BPI – About". Badan Perfilman Indonesia. Retrieved 4 May 2022.
- ^ a b Biran 2009, p. 2.
- ^ a b Biran 2009, p. 53.
- ^ ISBN 978-1-55859-697-9.
- ^ a b "Loetoeng Kasaroeng". filmindonesia.or.id (in Indonesian). Jakarta: Konfidan Foundation. Archived from the original on 2 December 2013. Retrieved 21 July 2012.
- ^ a b Biran 2009, pp. 66–68.
- ^ a b "Potret Bioskop di Jakarta dari Masa ke Masa". Liputan 6. Retrieved 14 October 2019.
- ^ "Rising from a century of lost hopes". Southeast Asia Globe. Retrieved 19 November 2019.
- ^ a b "Indonesian film industry in stasis, but for the better". The Jakarta Post. Retrieved 23 September 2021.
- ^ "Coming soon in 2019, a year to watch in Indonesian cinema". Retrieved 18 August 2019.
- ^ a b Biran 2009, pp. 33–35.
- ^ Biran 2009, p. 57.
- ^ Biran 2009, pp. 60–61.
- ^ Biran 2009, p. 73.
- ^ Woodrich 2014, p. 27.
- ^ Biran 2009, p. 77.
- ^ JCG, Lily van Java.
- ^ Biran 2009, p. 379.
- ^ Biran 2009, pp. 380–381.
- ^ Biran 2009, p. 145.
- ^ Biran 2009, pp. 147–150.
- ^ Jakarta City Government, Albert Balink.
- ^ Biran 2009, pp. 160–162.
- ^ New York Times 1938, Foreign Exchange.
- ^ Biran 2009.
- ISBN 9780824813673. Retrieved 23 July 2012.
- ^ Biran 2009, p. 182.
- ^ Biran 2009, p. 205.
- ^ Said 1982, p. 27.
- ^ Biran 2009, p. 380–383.
- ^ Biran 2009, p. 25; Said 1982, p. 25.
- ^ Biran 2009, p. 260.
- ISBN 978-0-8248-3223-0.
- ^ a b c Baskett, The Attractive Empire.
- ^ ISBN 978-1-84520-237-8.
- ISBN 978-0-19-811257-0.
- ISBN 978-0-19-958726-1.
- ^ a b Andryanto, S. Dian (9 July 2022). "Trailer Film Sri Asih Dirilis, Siapa Sebenarnya Tokoh Rekaan RA Kosasih Ini?". Tempo. Retrieved 22 January 2023.
- ^ a b Kristianto, JB (2 July 2005). "Sepuluh Tahun Terakhir Perfilman Indonesia" (in Indonesian). Kompas. Archived from the original on 13 January 2008. Retrieved 31 October 2016.
- ^ a b Monash 2007-08-03, Tjoet Nja' Dhien.
- ^ Siapno 2006, p. 25.
- ^ "Kondisi Perfilman di Indonesia" (in Indonesian). Archived from the original on 21 December 1999.
- ^ Sasono, Eric (4 April 2008). "Pertemuan Baru Islam dan Cinta". Kompas. Archived from the original on 19 July 2013.
- ^ "New Import Policy Will Kill Indonesian Film Industry: Noorca". Jakarta Globe. 21 February 2011. Archived from the original on 23 September 2012. Retrieved 31 October 2016.
- ^ Belford, Aubrey (28 March 2011). "Porn Stars, Clad? They Seem to Appeal to Indonesian Filmgoers". The New York Times. Retrieved 31 October 2016.
- ^ Bradshaw, Peter (17 May 2012). "The Raid – review". The Guardian. Archived from the original on 27 December 2016. Retrieved 27 December 2016.
- ^ Rizky Sekar Afrisia (24 January 2014). ""The Raid 2: Berandal" Mengguncang Festival Film Internasional" (in Indonesian). Viva. Archived from the original on 7 April 2018. Retrieved 6 April 2018.
- ^ Yosephina, Liza (3 April 2018). "'Pengabdi Setan' opens at No. 1 in Hong Kong". The Jakarta Post. Archived from the original on 6 April 2018. Retrieved 5 April 2018.
- ^ Ferrarese, Marco. "'New kinds of monsters': The rise of Southeast Asian horror films". www.aljazeera.com. Retrieved 24 January 2022.
- ^ "New wave of horror flicks puts Indonesian cinema on map". Nikkei Asia. Retrieved 24 January 2022.
- ^ "Jiffest – Jakarta International Film Festival". www.filmfestivals.com. Retrieved 4 May 2022.
- ^ "A new chapter for JiFFest". The Jakarta Post. Retrieved 4 May 2022.
- ^ Frater,AP, Patrick; Frater, Patrick; AP (21 December 2009). "Quake fails to shake awards". The Hollywood Reporter. Retrieved 4 May 2022.
- ^ "CGV Blitz Rebrands, Changes Name to CGV Cinemas". The Jakarta Globe. Retrieved 9 June 2017.
- ^ "Kontrak Habis, CGV MoI Ditutup". Kompas. Retrieved 15 January 2019.
- ^ "Cinemaxx Hadir di Mall Living World Pekanbaru". Berita Satu. Retrieved 28 September 2018.
Works cited
- "Albert Balink". Encyclopedia of Jakarta (in Indonesian). Jakarta City Government. Archived from the original on 17 October 2012. Retrieved 24 July 2012.
- ISBN 978-979-3731-58-2.
- "Foreign Exchange". The New York Times. New York. 8 June 1938. Retrieved 24 November 2012. (subscription required)
- Imanjaya, Ekky (2006). A to Z about Indonesian Film (in Indonesian). Bandung: DAR! Mizan : Didistribusikan oleh Mizan Media Utama.
- Kristanto, JB (2005). Katalog Film Indonesia 1926–2005 (in Indonesian). Jakarta: Nalar bekerjasama dengan Fakultas Film dan Televisi, Institut Kesenian Jakarta [dan] Sinematek Indonesia. ISBN 9789799939531.
- "Lily van Java". Encyclopedia of Jakarta (in Indonesian). Jakarta: Jakarta City Government. Archived from the original on 21 August 2012. Retrieved 21 August 2012.
- "Tjoet Nja Dhien". Monash University. 21 May 1988. Retrieved 19 August 2011.
- Said, Salim (1982). Profil Dunia Film Indonesia [Profile of Indonesian Cinema] (in Indonesian). Jakarta: Grafiti Pers. OCLC 9507803.
- Siapno, Jacqueline Aquino (2006). Gender, Islam, nationalism and the state of Aceh. London: Routledge-Curzon. ISBN 978-0-7007-1513-8.
- Woodrich, Chris (2014). Ekranisasi Awal: Adapting Films to the Silver Screen in the Dutch East Indies (Master of Arts thesis). Gadjah Mada University.
External links
- Indonesian films at the Internet Movie Database
- Jakarta International Film Festival
- 21 Cineplex – Indonesian movie-theater chain
- Blitz Megaplex – Indonesian multiplex chain
- Indonesian film notes
- Streaming Film Indonesia
- EngageMedia (Archived 16 September 2012 at the Wayback Machine) – Social change film online from Indonesia and the Asia-Pacific
- Rumah Film – Resource of Indonesian film (in Indonesian language)
- filmindonesia.or.id – Online version of JB Kristanto's film catalogue and article archive on Indonesian films (in Indonesian language)