This book explores ways in which diverse regional cultures in Indonesia and their histories have been expressed in film since the early 1950s. It also explores underlying cultural dominants within the new nation, established at the end of 1949 with the achievement of independence from Dutch colonialism. It sees these dominants—for example forms of group body language and forms of consultation—not simply as a product of the nation, but as related to unique and long standing formations and traditions in the numerous societies in the Indonesian archipelago, on which the nation is based. Nevertheless, the book is not concerned only with past traditions, but explores ways in which Indonesian filmmakers have addressed, critically, distinctive aspects of their traditional societies in their feature films (including at times the social position of women), linking past to the present, where relevant, in dynamic ways.

This book explores Indonesian cinema, focusing on moments of unique creativity by Indonesian film artists who illuminate important but less-widely-known aspects of their multi-dimensional society. It begins by exploring early 1950s ‘Indonesian neorealist films’ of the Perfini group, which depict the ethos and emerging moral issues of the period of struggle for independence (1945–49). It continues by discussing four audacious political allegories produced in four discrete political eras—including the Sukarno, Suharto and Reformasi periods. It also surveys the main approaches to Islam in both popular cinema and auteur films during the Suharto New Order. One chapter celebrates the popular songs and B-movies of the Betawi comedian, Benyamin S, which dramatize the experience of the poor in ‘modernizing’ Jakarta. Another examines persisting Third World dimensions of Indonesian society as critiqued in two experimental features. The concluding chapter highlights innovation in a renewed Indonesian cinema of the post-Suharto Reformasi period (1999–2020), including films by an unprecedented generation of women writer-directors

The years following the fall of Suharto have been full of promises of liberation but also apprehension for the future. The period brought an unprecedented rise in the public profile of Islamic politics, new and public debates on past human rights violations, protracted and irrevocable divisions within top political elite, the rise of Asian popular culture, and a digital communication revolution passionately welcomed by young Indonesians along with youths all around the world. Identity and Pleasure: The Politics of Indonesian Screen Culture critically examines what media and screen culture reveal about the ways urban-based Indonesians attempted to redefine their identity in the first decade of this century. Through a richly nuanced analysis of their expressions and representations across screen culture (cinema, television and social media), it analyses the waves of energy and optimism, and the disillusionment, disorientation and despair, that arose in the power vacuum after the dramatic collapse of the militaristic New Order government.The overall narrative provides much reason for optimism, but it also suggests that the deep reservoir of creativity that gave rise to Indonesia's local hybrid modernities has been targeted by competing grounds of modernists, who favour a narrow definition of what it means to be Indonesian. A co-publication with the Center for Southeast Asian Studies, Kyoto University.

This book focuses on how visual records – mainly on film or video – can provide data for research and presents a variety of visual projects drawn from ethnographic fieldwork in Indonesia. Karl Heider argues for the expansion of visual anthropology - or anthropology with a camera - beyond descriptive ethnographic film into actual use of the camera as a research tool. The chapters explore several ways in which camera-generated materials can complement and support what anthropologists already do in their research. Heider includes samples from fieldwork in Indonesia conducted over a number of years, particularly in New Guinea and Sumatra with groups including the Dani and Minangkabau. His studies combine visual and psychological anthropology and provides insight into the analysis of emotions in particular. Intended to inspire new approaches to the ethnographic enterprise, the book is valuable for scholars of visual anthropology and Southeast Asia.

This edited volume explores how success is conceptualized and represented in texts for young people in Asia. The essays in this collection examine how success for children relates to education, family, gender, race, class, community, and the nation. It answers the following questions: How is success for children represented in literature, cinema, and popular media? In what ways are these images grounded in the historical, political, and cultural contexts in which they are produced and consumed? How does childhood agency influence ideas about success in Asia? Highlighting the similarities and differences in how success is defined for children and young adults in Japan, South Korea, People’s Republic of China, Singapore, Taiwan, Indonesia, Vietnam, and India, this volume argues that success is an important keyword in the literary and cultural study of childhood in Asia.

This proceeding contains selected papers of The International Seminar On Recent Language, Literature, And Local Culture Studies “Kajian Mutakhir Bahasa, Sastra, Dan Budaya Daerah (BASA)” held on 20-21 September 2019 in Solo, Indonesia. The conference which was organized by Sastra Daerah, Faculty of Cultural Sciences Universitas Sebelas Maret and Culture Studies Postgraduate Program of Universitas Sebelas Maret. The conference accommodates topics for linguistics in general including issues in language, literature, local cultural studies, philology, folklore, oral literature, history, art, education, etc. Selecting and reviewing process for the The International Seminar On Recent Language, Literature, And Local Culture Studies “Kajian Mutakhir Bahasa, Sastra, dan Budaya Daerah” was very challenging in that it needs a goodwill of those who were involved in such a process. More than ten experts were invited in reviewing, giving suggestions for revision and at last selecting the papers. On that account, we would like to forward our appreciation and our gratefulness to such invited experts for having done the process. The committee received more than 180 papers from the participants and based on the results of the review, only 141 papers were declared fit to be presented at the seminar and subsequently published in the proceedings of BASA#3-2019 Papers in the proceeding are expected to give academic benefits, especially in broadening the horizon of our understanding in language, literature, and local culture studies. We realize that what we are presenting for the publication is till far for being perfect. Constructive criticism is very much welcome for improvement. Finally, the committees thank for the participation and congratulate for the publication of the papers in the proceedings of BASA#3-2019. The committees also thank all those who have supported and actively participated for the success of this event. Hopefully these Proceedings can be used as references in developing technology and improving learning activities in the fields of education, social, arts and humanities.

The ethnic Chinese have had a long and problematic history in Indonesia, commonly stereotyped as a market-dominant minority with dubious political loyalty toward Indonesia. For over three decades under Suharto’s New Order regime, a cultural assimilation policy banned Chinese languages, cultural expression, schools, media, and organizations. This policy was only abolished in 1998 following the riots and anti-Chinese attacks that preceded the fall of the New Order. In the post-Suharto era, Chinese Indonesians were finally free to assert their Chineseness again. But how does an ethnic group recover from the trauma of assimilation and regain a lost cultural identity? Memories of Unbelonging is an ethnographic study of how collective memories of state-sponsored ethnic discrimination have shaped Chinese identity politics in Indonesia. Combining case studies, in-depth primary data, and incisive analysis of Indonesia’s contemporary political landscape, anthropologist Charlotte Setijadi argues that trauma narratives are at the core of modern Chinese identity politics. Examining spaces and domains such as residential enclaves, educational institutions, the creative arts, and politics, this book paints a vivid picture of how different generations of Chinese Indonesians make sense of their historical trauma, ethnic identity, and belonging in a post-assimilation environment. Far from being passive victims of history, the ethnic Chinese are actively challenging old stereotypes and boundaries of acceptable Chineseness in the country. This emphasis on group and individual agency marks a strong departure from structural analyses of Chinese Indonesians that mostly highlight their disempowerment as an oppressed minority. Furthermore, placing the analysis within the broader context of China’s rise in the twenty-first century demonstrates how the combination of persisting local anti-Chinese sentiments and renewed pride over China’s growing global dominance have prompted many Chinese Indonesians to re-evaluate their sense of ethnic and national belonging. By focusing on the nexus between collective memory, local identity politics, and the rise of China as an external factor, Memories of Unbelonging offers new perspectives of understanding about Chinese Indonesians, post-Suharto Indonesian society, and the relationship between China and ethnic Chinese communities in Southeast Asia.

Many global film industries fail in expanding the role of Muslims on screen. Too often they produce a dichotomy between "good" and "bad" Muslims, limiting the narrative domain to issues of national security, war, and terrorism. Naturally, much of the previous scholarship on Muslims in film focused on stereotypes and the politics of representation. This collection of essays, from an international panel of contributors, significantly expands the boundaries of discussion around Muslims in film, asking new questions of the archive and magnifying analyses of particular cultural productions. The volume includes the exploration of regional cinemas, detailed analysis of auteurs and individual films, comparison across global cinema, and new explorations that have not yet entered the conversation. The interdisciplinary collection provides an examination of the multiple roles Islam plays in film and the various ways Muslims are depicted. Across the chapters, key intersecting themes arise that push the limits of how we currently approach issues of Muslims in cinema and ventures to lead us in new directions for future scholarship. This book adds new depth to the matrix of previous scholarship by revisiting methodological structures and sources, as well as exploring new visual geographies, transnational circuits, and approaches. It reframes the presiding scholarly conventions in five novel trajectories: considering new sources, exploring new communities, probing new perspectives, charting new theoretical directions, and offering new ways of understanding conflict in cinema. As such, it will be of great use to scholars working in Islamic Studies, Film Studies, Religious Studies, and Media.

A Dictionary of Film Studies covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field, and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally. Indices of films and filmmakers mentioned in the text are included for easy access to relevant entries. The dictionary also has 13 feature articles on popular topics and terms, revised and informative bibliographies for most entries, and more than 100 web links to supplement the text.

This is the first book to offer a comprehensive overview of the history, development and contemporary significance of sport in Asia. It addresses a wide range of issues central to sport in the context of Asian culture, politics, economy and society. The book explores diverse topics, including the history of traditional Asian sport; the rise of modern sport in Asia; the Olympic Movement in Asia; mega sport events in Asia; sport governance and policy; gender, class and ethnicity in Asian sport, and Asia’s sporting heroes and heroines. With contributions from 74 leading international scholars, it offers a new perspective on understanding Asian sport and society, telling the story of how sport in this mega-region is coming together and reshaping the world in the process. It also provides readers with a wide lens through which to better contextualise the relationships between Asia and the world within the global sport community. The Routledge Handbook of Sport in Asia is a vital resource for students and scholars studying the history, politics, sociology, culture and policy of sport in Asia, as well as sport management, sport history, sport sociology, and sport policy and politics. It is also valuable reading for those working in international sport organisations.