Katinka van Heeren, Contemporary Indonesian film; Spirits of Reform and ghosts from the past

Indonesian film is among the few extensive studies of films in Indonesia in the era of the Reformasi.Exploring the phenomenon of Indonesian films in the context of post-New Order Indonesian audiovisual media, the book delineates new patterns of production and distribution, and the reception of films in Indonesia in the present Reform era.Indonesians have been exposed to films since the early 1900's.From the time of silent films (film bisu) until the present, Indonesian cinemas have been dominated by Hollywood films which are consumed primarily by the middle and higher social classes, and by Indian and Chinese films which are viewed by people from the lower social classes.As history has shown time and again, as with other media forms like radio and television, the production, distribution, and consumption of films in Indonesia has always been strongly influenced by fluctuations in the political sphere of the country.For example, during the Japanese occupation (1942)(1943)(1944)(1945), the distribution of American films was restricted by the occupational authorities.The cinemas (bioskop), most of which were also given new Japanese names, were instructed to promote Japanese films that primarily showed Japanese valiant military and heroism on the battlefield.The distribution of American films also faced obstacles near the end of Soekarno's Old Order.The artist members of communist-oriented Lekra (Lembaga Kebudayaan Rakyat, 'Institute of People's Culture') were also highly critical of all Western cultural products, but especially of those coming from America.In such fluctuating political environments and despite all limitations in terms of expertise and capital, Indonesian filmmakers started

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