David Hanan Livres

Indonesian cinema is examined through its creative evolution, highlighting significant yet underrepresented aspects of the country's society. The book begins with the neorealist films of the 1950s, reflecting the struggle for independence. It analyzes political allegories across various regimes, including Sukarno and Suharto, and explores portrayals of Islam in both mainstream and auteur films. It also celebrates the work of comedian Benyamin S and critiques Third World issues in experimental features. The final chapter focuses on innovations in post-Suharto cinema, spotlighting women writer-directors.

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.