Journal of Film Preservation - FIAF

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Brief History of the Indonesian Film H. Misbach Yusa Biran Open Forum Indonesia Editor’s note: In March 1999, the Fukuoka City Public Library Film Archive held a one-day seminar devoted to Indonesian cinema. Here are two important contributions from this seminar. May our colleagues from Fukuoka be thanked for making these essays available. En mars 1999, la Fukuoka City Public Library Film Archive organisa un séminaire consacré au cinéma indonésien. Grâce à nos amis de Fukuoka, nous sommes en mesure de publier deux contributions importantes au séminaire. En marzo 1999, la Fukuoka City Public Library Film Archive organizó un seminario dedicado al cine indonesio. Gracias a nuestros amigos de Fukuoka hemos podido publicar aquí dos contribuciones importantes al seminario. Until the middle of the 20th Century, Indonesia was a Dutch colony. The last regions were Aceh and Bali. The Dutch colonial period ended with the invasion of the Japanese Army in 1942. In 1945, two days after the Allied Forces defeated the Japanese, Indonesia proclaimed its independence. The Dutch, however, tried to regain their authority in Indonesia, as a result of which fighting flared up until 1949, when the Dutch finally recognized the independence of Indonesia. Under Dutch colonization, the Indonesian people had no chance to develop their creative capabilities. At the end of the Dutch hegemony, the number of literate people was less than 10%. Most Indonesians made their living by farming and small traditional trading. Film Comes to Indonesia Films were shown for the first time in Indonesia by the Dutch. They were projected in mobile theatres or rented houses. Later on the film business was dominated by the Chinese. In 1925 they owned most of the movie theatres in Indonesia. Film-making has been known in Indonesia since 1911, beginning with documentaries made by film crews from Europe, initiated by the Dutch, G. Kruger and F. Carli among them. The First Feature Films The first films were made in Indonesia in 1926 by the Dutch citizens G. Kruger and L. Herveldorp, soon followed by F. Carli. Although high-tech films from Hollywood and Europe had frequently entered Indonesia, indigenous film-making was still primitive. The marketing of domestic films was quite difficult. The Chinese became involved in the film business in 1928. Their first aim was to upgrade the quality of home-made films. Their boldness and determination withstood the challenge, while the Dutch, despite being the pioneers, soon gave up. Terang Bulan (Full Moon) was produced in 1937 by Albert Balink, a Dutch journalist who had joined the Wong Brothers, a Chinese company. It was an imitation of the Hollywood “South Seas” film The Jungle Princess (Laut Selatan), starring Dorothy Lamour in her first sarong role. Terang Bulan incorporated songs, which were popular with the Indonesian audience. The film suited the public taste and was a big hit, inspiring dreams of a more hopeful life. The success of the film reached as far as the Malacca Peninsula, where the title song, “Terang Bulan”, became very popular. In 1957 it was adopted as the Malaysian national anthem. The First Boom Terang Bulan proved that film-making in Indonesia could be a 2 Journal of Film Preservation / 69 / 2005
Colonie hollandaise jusqu’en 1949, c’est aux Hollandais que l’Indonésie doit ses premières productions cinématographiques dès 1911. Si les spectacles cinématographiques furent d’abord le fait de projectionnistes itinérants, voire même de projections dans des maisons privées, cette situation changea dans les années 20 alors que les Chinois devinrent la force dominante de ce marché nouveau, au point de posséder la majorité des salles du pays en 1925. Si ce sont deux hollandais, Kruger et Herveldorp, qui tournent le premier film indonésien en 1926, les industriels chinois du cinéma deviennent à leur tour producteurs dès 1928. Les années 30 voient l’apparition du premier grand succès du cinéma indonésien. Tourné en 1937, Terang Bulan constitue un modèle maintes fois imité : chansons, histoires d’amour et beaux paysages sont au service d’un couple de vedettes chères au cœur du public. La domination japonaise qui succède au départ des Hollandais marque un brusque arrêt de la production : un seul long métrage est alors réalisé, la production étant surtout constituée d’actualités et de films d’information. C’est pourtant à cette époque que naissent deux écoles de cinéma et qu’est créée la société Perfini qui insiste sur l’importance de l’identité nationale dans les films. Le régime communiste des années 60 est caractérisé par le boycott des films américains et la fermeture de plus de la moitié des 750 salles du pays. Un décret de 1964 met pourtant de l’avant le développement d’un cinéma national. À compter des années 70, de nouveaux noms apparaissent identifiés à des films de qualité, alors que la télévision et le cinéma « de sexe » constituent une compétition redoutable. Mais la situation générale demeure difficile et la qualité technique des films est souvent approximative. Un espoir apparaît dans les années 90 avec la réussite que constitue Daun di atas bantal de Garin Nugroho couronné dans plusieurs festivals et la co-production récente avec la France de Telegram de Selamet Rahardjo. profitable business. Newly established film companies raced to produce films by applying the Terang Bulan formula, using action, songs, romance, beautiful panoramas, and movie-star couples. The Star System was introduced into Indonesian film-making. The most popular actors of the time were Rukiah and Rd. Mochtar, the stars of Terang Bulan. The emergence of a production boom was followed by a boom in audiences. Young politicians, who were struggling for Indonesia’s independence, urged the indigenous Indonesian middle class to see Terang Bulan. They called upon them to promote the use of domestic products, including Indonesian films. This boom period ended in 1942 with the arrival of the invading Japanese. All film studios were closed on the grounds that the then-dominant film producers, all Chinese, would not understand the function of film in the new era. The number of Chinese in Indonesia who paid attention to non-business matters was very limited. The generals did not understand the culture, politics, and development of progress in this country. They would thus not understand the Japanese idea of motivating the nation to support the establishment of Dai Toa (“Greater East Asia”) by strengthening the sentiments of national independence. New Orientation The Japanese organized all arts activities as a device to strengthen Dai Toa and to conduct anti-West propaganda. This concept was the basis of the only full-length feature film made during the Japanese Occupation, Berjoang (Struggle, 1943), produced by Nippon Eiga Sha, the only company the Japanese allowed to operate. Otherwise, the main Indonesian productions during the war years were news and information films, since resources were very limited. Many films on warfare, imported from Japan, were shown in Indonesia. These films were of high quality, containing hidden propaganda. The new concept was different from the production ethos Indonesia was used to – i.e., that film was only for entertainment or escapism, like most of the films imported from Hollywood. The concept attracted young Indonesian artists, who saw that film could fulfill an important mission. However, they were given no opportunity to make films during the Occupation. Instead, cultural innovation and renewal arrived via the theatre, notably in the work of the poet and playwright Usmar Ismail, who adapted Molière and explored modern problems, and became the focal point of a group of young artists and intellectuals. For the most part, film activities seemed unimportant during the postwar period of revolution against the Dutch, and cinemas in the capital were closed. What was the most significant, however, was the changing of orientation towards film media by intellectuals and artists. Usmar Ismail and his group, now involved in the revolution against the Dutch, came to appreciate the value of film as a medium, and were active in holding film discussions and initiating training courses. Before the war educated people did not consider film a branch of the arts, disdaining it as sheer entertainment for the uneducated masses. This claim actually appeared when film-making opportunities were reopened, after the conflict with the Dutch was over. But with the new 3 Journal of Film Preservation / 69 / 2005
Page 1 and 2: 69 05/ 2005 Revista de la Federaci
Page 3: 62 Remembering Guido Cincotti Mario
Page 7 and 8: Colonia holandesa hasta 1949, Indon
Page 9 and 10: Indonesian Cinema as Seen by… Chr
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Page 13 and 14: the French government will protect
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