This book traces the beginning of the process of nation-formation, the struggle for independence, the hopeful beginning of the new nation-state of Indonesia only to be followed by hard and difficult ways to remain true to the ideals of independence. In the process Indonesia with its sprawling archipelago and its multi-ethnic and multi-religious nation has to undergo various types of crisis and internal conflicts, but the ideals that have been nurtured since the beginning when a new nation began to be visualized remain intact. Some changes in the interpretation may have taken place and some deviations here and there can be noticed but the literal meaning of the ideals continues to be the guiding light. In short this is a history of a nation in the continuing effort to retain the ideals of its existence.
If Only is a memoir of a nine year old Chinese Indonesian girl growing up in Jakarta in the 1950–60’s. She lost her mother who dies after the sixth attempt to bear a son. If she were a boy, her mother would still be alive. This accusation has tormented her all her life. When her cousin physically assaulted her, her father who despises his five daughters didn’t take any action. Her repressed anger causes, years later, cancer. She overcomes the traumatic and difficult youth by her love of reading. Although coming from a dysfunctional family, she later becomes one of the most popular romance writers in the country. This is her first non-fiction.
This volume brings together 18 original papers dealing with voice-related phenomena.The languages dealt with represent both typological and geographic diversity, ranging from accusative-type languages to ergative-type and Philippine-type languages, and from Australia to Africa and Siberia. The studies presented here open up many possibilities for theorizing and offer data inviting formal treatments, but the most important contribution they make is in terms of the insights they offer for a better understanding of the fundamentals of voice phenomena.
Jika kau bertanya arti kesetiaan, aku tak bisa menjelaskannya dengan kata-kata. Jika kau bertanya apa makna kesendirian, tanpa harus merasa sepi, aku pun tak sanggup memaparkannya. Jika kau bingung menemukan di mana bahu dan telinga terbaik untuk tiap keluh kesahmu, aku pun tak punya petanya. Ke sinilah sebentar, kita teguk dua gelas teh hangat ini, di atas lantai merpati. Agar kelak jika aku pergi, kau tak takut lagi akan sepi. Kisah laki-laki paling setia. Tiap langkah, ucapan, tatap dan tindakannya, bak kemegahan perhiasan tiada tara. Novel Setia J.S. Khairen
A film-goer accustomed to the typical Hollywood movie plot would feel uneasy watching an Indonesian movie. Contrary to expectations, good guys do not win, bad guys are not punished, and individuals do not reach a new self-awareness. Instead, by the end of the movie order is restored, bad guys are converted, and families are reunited. Like American movies, Indonesian films reflect the understandings and concerns of the culture and era in which they are made. Thus Indonesian preoccupations with order and harmony, national unity, and modernization motivate the plots of many films. Cinema has not traditionally been within the purview of anthropologists, but Karl Heider demonstrates how Indonesian movies are profoundly Indonesian. Produced in the national language by Indonesians from various regions, the films are intended for audiences across the diverse archipelago. Heider examines these films to identify pan-Indonesian cultural patterns and to show how these cultural principles shape the movies and, sometimes, how the movies influence the culture. This anthropological approach to Indonesian film opens up the medium of Asian cinema to a new group of scholars. "Indonesian Cinema" should be of interest to social scientists, Asianists, film scholars, and anyone concerned with the role of popular culture in developing countries.
A courage to make your Dreams reality work hard, pray hard, work smart and never give up. Following your dreams can be easier especially on the days when the obstacle keeps on coming, dreams are the aspiration, hope is important because it can make the present mom ent less difficult to bear.
In Indonesian Cinema after the New Order: Going Mainstream, Thomas Barker presents the first systematic and most comprehensive history of contemporary Indonesian cinema. The book focuses on a 20-year period of great upheaval from modest, indie beginnings, through mainstream appeal, to international recognition. More than a simple narrative, Barker contributes to cultural studies and sociological research by defining the three stages of an industry moving from state administration; through needing to succeed in local pop culture, specifically succeeding with Indonesian youth, to remain financially viable; until it finally realizes international recognition as an art form. This “going mainstream” paradigm reaches far beyond film history and forms a methodology for understanding the market in which all cultural industries operate, where the citizen-consumer (not the state) becomes sovereign. Indonesia presents a particularly interesting case because “going mainstream” has increasingly meant catering to the demands of new Islamic piety movements. It has also meant working with a new Ministry of Tourism and Creative Economy, established in 2011. Rather than a simplified creative world many hoped for, Indonesian filmmaking now navigates a new complex of challenges different to those faced before 1998. Barker sees this industry as a microcosm of the entire country: democratic yet burdened by authoritarian legacies, creative yet culturally contested, international yet domestically shaped. “This is a significant piece of scholarly contribution informed by an extensive range of interviews with industry insiders. This volume is particularly welcome given the dearth of English-language publications on Indonesian cinema in the last two decades. I have no doubt that the book will be extensively used in any future work on national cinema, not just in Indonesia, but Southeast Asia more widely.” —Krishna Sen, University of Western Australia “Indonesian Cinema after the New Order is a marvelously entertaining and important contribution to the study of Indonesian cinema, youth culture, and media worlds in a global context. In fact, I would consider it the best book I have seen on the subject of the Indonesian film industry.” —Mary Steedly, Harvard University
