Cahaya Dari Timur: Beta Maluku
Cahaya Dari Timur: Beta Maluku, is an Indonesian drama film which produced by Angga Dwimas Sasongko and musician Glenn Fredly and released on June 19, 2014. The film starred by Chico Jericho, Shafira Uum, Abdurrahman Arif, Jajang C. Noer; the film had won "Best Film" award at the 2014 Indonesian Film Festival and won "Best Feature Film" award at the 2014 Maya Awards. In 2015, Showbiz Indonesia Awards awarding the film as "Movie of the Year"; the film nominated for "Favorite Film" at the 2015 Indonesian Movie Awards and "Best DVD Collection" at the 2015 Maya Awards. Chico Jericho as Sani Tawainella Shafira Uum as Haspa Umarella Abdurrahman Arif as Josef Matulessy Burhanuddin Ohorella as Alfin Tuasalamony Bebeto Leutually as Salim Ohorella Jajang C. Noer as Alfin' mother Glenn Fredly JFlow Appointed from the real story, This film since the beginning of taking the option to present a picture of the actual conditions based on the story. Social cultural approach and the accuracy of the facts become an important element in the execution of this film.
The uniqueness of film lies in the decision to use Ambon dialogue in the whole movie and chooses Maluku talented young actors to fill the role of children there. Sinopsis Cahaya Dari Timur: Beta Maluku di 21 Cineplex Lights from the East: I am Maluku on IMDb
Pacar Ketinggalan Kereta
Pacar Ketinggalan Kereta is a 1989 film by Indonesian director Teguh Karya. It was his last feature film. At a party celebrating the Padmos 25th wedding anniversary, a fit of jealousy breaks out. Mrs Padmo is jealous of her husband's secretary, who rides in the same car as Mr Padmo. Meanwhile, the Padmos' son Heru is with Ipah, while the family's driver Martubi is with Retno's maid Juminten; this situation is exacerbated by the Padmos' daughter Riri dating Retno's son Arsal. This leads to numerous misunderstandings. Pacar Ketinggalan Kereta was directed by Teguh Karya, a Chinese-Indonesian director who had made numerous critically acclaimed films, including November 1828 and Ibunda, it was Karya's last feature film. Casting had begun by February 1988. Ayu Azhari, who had appeared in several of Karya's works, took a small role. Tuti Indra Malaon, another actress who had appeared in several of Karya's works, was cast as Mrs. Padmo; the film featured the song "Kijang Muda", by Ruth Sahanaya. Pacar Ketinggalan Kereta is paced, due in part to its large cast.
The storytelling technique, using three different and unrelated sets of characters before the climax united them all, was reminiscent of Usmar Ismail's film Tiga Dara. The film invokes aspects of a musical. Pacar Ketinggalan Kerta was released in October 1989, it was the most-viewed Indonesian film of 1989. The Indonesian writer Putu Wijaya, reviewing in Tempo magazine, wrote that the film began and moved fast enough to confuse viewers, but was concluded well. Pacar Ketinggalan Kereta was nominated for thirteen Citra Awards at the 1989 Indonesian Film Festival, winning eight; this success was protested by Tempo writers Budiono Darsono and Putu Setia, who found Pacar Ketinggalan Kereta one of Karya's weaker films and commented that it seemed to be intended to win as many Citra Awards as possible. At the 1989 Bandung Film Festival, it won three awards. Footnotes Bibliography Pacar Ketinggalan Kereta on IMDb
Chinese Indonesians or Orang Tionghoa, are Indonesians descended from various Chinese ethnic groups the Han Chinese. Many people who identify, or are identified, as "Chinese Indonesian" are of mixed Chinese and local ancestry. Chinese people have lived in the Indonesian archipelago since at least the 13th century. Many came as sojourners, intending to return home in their old age. Some, stayed in the region as economic migrants, their population grew during the colonial period when workers were contracted from their home provinces in southern China. Discrimination against Chinese Indonesians has occurred since the start of Dutch colonialism in the region, although government policies implemented since 1998 have attempted to redress this. Resentment of ethnic Chinese economic aptitude grew in the 1950s as native Indonesian merchants felt they could not remain competitive. In some cases, government action propagated the stereotype that ethnic Chinese-owned conglomerates were corrupt. Although the 1997 Asian financial crisis disrupted their business activities, reform of government policy and legislation removed a number of political and social restrictions on Chinese Indonesians.
The development of local Chinese society and culture is based upon three pillars: clan associations, ethnic media, Chinese-language schools. These flourished during the period of Chinese nationalism in the final years of China's Qing Dynasty and through the Second Sino-Japanese War. One group supported political reforms in China, while others worked towards improved status in local politics; the New Order government dismantled the pillars of ethnic Chinese identity in favor of assimilation policies as a solution to the "Chinese Problem". The Chinese Indonesian population of Sumatra accounts for nearly half of the group's national population, they are more urbanized than Indonesia's indigenous population but significant rural and agricultural communities still exist throughout the country. Declining fertility rates have resulted in an upward shift in the population pyramid, as the median age increases. Emigration has contributed to a shrinking population, communities have emerged in more industrialized nations in the second half of the 20th century.
Some have participated in repatriation programs to the People's Republic of China, while others emigrated to neighbouring Singapore and Western countries to escape anti-Chinese sentiment. Among the overseas residents, their identities are noticeably more Indonesian than Chinese; the term "Chinese Indonesian" has never been defined for the period before 1900. There was no Indonesian nationality before the 20th century; the ethno-political category Han Chinese was poorly defined before the rise of modern Chinese nationalism in the late 19th century. At its broadest, the term "Chinese Indonesian" is used refer to anyone from, or having an ancestor from, the present-day territory of China; this usage is problematic because it conflates Han Chinese with other ethnic groups under Chinese rule. For instance, Admiral Zheng He, who led several Chinese maritime expeditions into Southeast Asia, was a Muslim from Yunnan and was not of Chinese ancestry, yet he is characterized as "Chinese"; this broad use is problematic because it prioritizes a line of descent from China over all other lines and may conflict with an individual's own self-identity.
Indonesia's president Abdurrahman Wahid is believed to have some Chinese ancestry, but he did not regard himself as Chinese. Some narrower uses of the term focus on culture, defining as "Chinese Indonesian" those who choose to prioritize their Chinese ancestry those who have Chinese names or follow aspects of Chinese religion or culture. Within this cultural definition, a distinction has been made between peranakan and totok Chinese. Peranakan were said to have mixed Chinese and local ancestry and to have developed a hybrid culture that included elements from both Chinese and local cultures. Totoks were said to be first-generation migrants and to have retained a strong Chinese identity. Other definitions focus on the succession of legal classifications that have separated "Chinese" from other inhabitants of the archipelago. Both the Dutch East India Company and the Dutch colonial government applied complex systems of ethnic classification to their subjects, based on religion and place of origin.
Chinese Indonesians were sometimes classified as "Natives", sometimes as "Chinese", sometimes as "Foreign Orientals", a category that included Arabs and Siamese. After independence, the community was divided between those who accepted Indonesian citizenship and those who did not. Under the New Order of President Suharto, citizens of Chinese descent were formally classified as "Indonesian citizens of foreign descent". In public discourse they were distinguished from native Indonesians as "non-native"; the first recorded movement of people from China into Maritime Southeast Asia was the arrival of Mongol forces under Kublai Khan that culminated in the invasion of Java in 1293. Their intervention hastened the decline of the classical kingdoms such as Singhasari and precipitated the rise of the Majapahit empire. Chinese Muslim traders from the eastern coast of China arrived at the coastal towns of Indonesia and Malaysia in the early 15th century, they were led by the mariner Z
Jakarta the Special Capital Region of Jakarta, is the capital and largest city of Indonesia. Located on the northwest coast of the world's most populous island, Java, it is the centre of economics and politics of Indonesia, with a population of 10,075,310 as of 2014. Jakarta metropolitan area has an area of 6,392 square kilometers, known as Jabodetabek, it is the world's second largest urban agglomeration with a population of 30,214,303 as of 2010. Jakarta is predicted to reach 35.6 million people by 2030 to become the world's biggest megacity. Jakarta's business opportunities, as well as its potential to offer a higher standard of living, attract migrants from across the Indonesian archipelago, combining many communities and cultures. Established in the 4th century as Sunda Kelapa, the city became an important trading port for the Sunda Kingdom, it was the de facto capital of the Dutch East Indies. Jakarta is a province with special capital region status, but is referred to as a city; the Jakarta provincial government consists of five administrative cities and one administrative regency.
Jakarta is nicknamed the Big Durian, the thorny strongly-odored fruit native to the region, as the city is seen as the Indonesian equivalent of New York. Jakarta is an alpha world city and is the seat of the ASEAN secretariat, making it an important city for international diplomacy. Important financial institutions such as Bank of Indonesia, Indonesia Stock Exchange, corporate headquarters of numerous Indonesian companies and multinational corporations are located in the city; as of 2017, the city is home for two Fortune 500 and four Unicorn companies. In 2017, the city's GRP PPP was estimated at US$483.4 billion. Jakarta has grown more than Kuala Lumpur and Beijing. Jakarta's major challenges include rapid urban growth, ecological breakdown, gridlock traffic and congestion and inequality, potential crimes and flooding. Jakarta is sinking up to 17 cm per year, coupled with the rising of sea level, has made the city more prone to flooding. Jakarta has been home to multiple settlements: Sunda Kelapa, Batavia, Jakarta.
Its current name "Jakarta" derives from the word Jayakarta, derived from Sanskrit language. It was named after troops of Fatahillah defeated and drove away Portuguese invaders from the city in 1527. Before it was named "Jayakarta", the city was known as "Sunda Kelapa". In the colonial era, the city was known as Koningin van het Oosten in the 17th century for the urban beauty of downtown Batavia's canals and ordered city layout. After expanding to the south in the 19th century, this nickname came to be more associated with the suburbs, with their wide lanes, green spaces and villas. During Japanese occupation the city was renamed as Jakarta Tokubetsu Shi; the north coast area of western Java including Jakarta, was the location of prehistoric Buni culture that flourished from 400 BC to 100 AD. The area in and around modern Jakarta was part of the 4th century Sundanese kingdom of Tarumanagara, one of the oldest Hindu kingdoms in Indonesia; the area of North Jakarta around Tugu became a populated settlement at least in the early 5th century.
The Tugu inscription discovered in Batutumbuh hamlet, Tugu village, North Jakarta, mentions that King Purnawarman of Tarumanagara undertook hydraulic projects. Following the decline of Tarumanagara, its territories, including the Jakarta area, became part of the Hindu Kingdom of Sunda. From the 7th to the early 13th century, the port of Sunda was under the Srivijaya maritime empire. According to the Chinese source, Chu-fan-chi, written circa 1225, Chou Ju-kua reported in the early 13th century Srivijaya still ruled Sumatra, the Malay peninsula and western Java; the source reports the port of Sunda as strategic and thriving, mentioning pepper from Sunda as among the best in quality. The people worked in agriculture and their houses were built on wooden piles; the harbour area became known as Sunda Kelapa and by the 14th century, it was a major trading port for the Sunda kingdom. The first European fleet, four Portuguese ships from Malacca, arrived in 1513, while looking for a route for spices.
The Sunda Kingdom made an alliance treaty with the Portuguese by allowing them to build a port in 1522 to defend against the rising power of Demak Sultanate from central Java. In 1527, Fatahillah, a Javanese general from Demak attacked and conquered Sunda Kelapa, driving out the Portuguese. Sunda Kelapa was renamed Jayakarta, became a fiefdom of the Banten Sultanate, which became a major Southeast Asia trading centre. Through the relationship with Prince Jayawikarta of Banten Sultanate, Dutch ships arrived in 1596. In 1602, the English East India Company's first voyage, commanded by Sir James Lancaster, arrived in Aceh and sailed on to Banten where they were allowed to build a trading post; this site became the centre of English trade in Indonesia until 1682. Jayawikarta is thought to have made trading connections with
Love for Share
Love for Share is a 2006 Indonesian film directed by Nia Dinata. It tells three interrelated stories, it was submitted to the 79th Academy Awards as Indonesia's official submission for the Best Foreign Language Film, but was not nominated. The film received Golden Orchid Award as Best Foreign Language Film at the Hawaii Film Festival in 2007. Jajang C. Noer as Salma Shanty as Siti Dominique Agisca Diyose as Ming El Manik as Mr. Haji Ali Rohim Tio Pakusadewo as Koh Abun Lukman Sardi as Mr. Lik Nungki Kusumastuti as Indri Ria Irawan as Sri Ira Maya Sopha as Cik Linda Winky Wiryawan as Nadim Rieke Diah Pitaloka as Dwi Reuben Elishama as Firman Atiqah Hasiholan as Fatima Janna Soekasah as Santi Melissa Karim as Cik Linda's daughter Ikke Nurjanah as herself Lula Kamal as Dr. Lula Alvin Adam as Dr. Joko Dewi Irawan as Professor Opponent of Polygamy Maudy Koesnaedi as Talkshow Presenter Laudya Cynthia Bella as the fourth wife Aming as taxi driver Erwin Parengkuan Wak Ujang Yuanita Christiani as Cik Linda's daughter Ronny P. Tjandra as Koh Afung Rusdi Rukmarata as acting coach OST.
Berbagi Suami is a compilation album released under the label Aksara Records in 2006 to accompany the film. Musicians on the album include the indie rock group Sore. Love for Share on IMDb
Cinema of Indonesia
Cinema of Indonesia has a long history. Though film industry is the fastest-growing sub-sector of creative economy of Indonesia, it had went through a long and struggling period; the number of moviegoers in the country were more than 42 million in 2017. As of 2018, there are about 1700 screens in Indonesia, expected to reach 3000 by 2020. 21 Cineplex, CGV Cinemas and Cinemaxx dominate the movie theater industry in Indonesia. The first showing of films in the Dutch East Indies was in 1900, over the next twenty years foreign productions – from the United States – were imported and shown throughout the country. Domestic production of documentaries had begun in 1911 but were unable to compete with imported works. By 1923 a local feature film production spearheaded by the Middle East Film Co. was announced, but the work was not completed. The first domestically produced film in the Indies was in 1926: Loetoeng Kasaroeng, a silent film by Dutch director L. Heuveldorp; this adaptation of the Sundanese legend was made with local actors by the NV Java Film Company in Bandung and premiered on 31 December 1926 at the Elite and Majestic Theatres in Bandung.
The following year, G. Krugers – who had served as a technician and cinematographer for Loetoeng Kasaroeng – released his directorial debut, Eulis Atjih. Owing to Loetoeng Kasaroeng's limited release, Kruger was able to advertise his film as the colony's first. A year the second novel to be adapted to film in Indonesia, Setangan Berloemoer Darah, was produced by Tan Boen Soan. Ethnic Chinese directors and producers, capitalising on the success of films produced in Shanghai, became involved in the colony's cinema beginning in 1928, when Nelson Wong completed Lily van Java. Although the Wongs went on hiatus, other ethnic Chinese became involved in film. Several Chinese owned start-ups are recorded from 1929 on, including Nancing Film with Resia Boroboedoer and Tan's Film with Njai Dasima. By the early 1930s Chinese-owned businesses were the dominating force in the country's film industry. After the Great Depression reached the Indies, production slowed tremendously: the Dutch East Indies government collected higher taxes and cinemas sold tickets at lower prices, ensuring that there was a low profit margin for local films.
As a result, cinemas in the colony showed Hollywood productions, while the domestic industry decayed. The Teng Chun, who had made his debut in 1931 with Boenga Roos dari Tjikembang, was the only producer able to release films during 1934 and early 1935: his low budget but popular films were inspired by Chinese mythology or martial arts, although aimed at ethnic Chinese proved popular among native audiences because of their action sequences. In an attempt to show that locally produced, well-made films could be profitable, the Dutch journalist Albert Balink, who had no formal film experience, produced Pareh in 1935 in collaboration with Nelson Wong and his brothers. Though the film, costing 20 times as much as most contemporary productions, was an failure, it affected The Teng Chun's directorial style. Balink's next attempt, Terang Boelan, was released two years later. Unlike Pareh, Terang Boelan was a marked commercial success, earning 200,000 Straits dollars in two months; these two films are, according to American visual anthropologist Karl G. Heider, Indonesia's most important films of the 1930s.
The triple successes of Terang Boelan and Alang-Alang revived the domestic film industry. Four new production houses were established in 1940, actors and actresses attached to theatrical troupes entered the film industry, reaching new audiences; the new works, fourteen in 1940 and thirty in 1941 followed the formula established by Terang Boelan: songs, beautiful scenery and romance. Others, such as Asmara Moerni, attempted to reach the growing native intelligentsia by drawing journalists or figures from the growing nationalist movement into cinema. After its genesis during the Dutch colonial era, the Indonesian film industry was coopted by the Japanese occupiers during the Second World War as a propaganda tool; the first thing the Japanese did was to halt all film production in Indonesia. The Office of Cultural Enlightenment headed by Ishimoto Tokichi appropriated facilities from all filmmaking organisations consolidating them into a single studio which became the Jakarta branch of The Japan Film Corporation or Nichi'ei.
The majority of films made in Indonesia under the Japanese were educational films and newsreels produced for audiences in Japan. The Jakarta branch was strategically placed at the extreme southern end of Japan's empire and soon became a centre of newsreel production in that region. Popular news serials such as News from the South and Berita Film di Djawa were produced here. Japanese newsreels promoted such topics as conscripted "romusha" labourers, voluntary enlistment into the imperial Japanese Army, Japanese language acquisition by Indonesian children; the great victory in Japan's occupation of the Indonesian film industry did not lie in financial gain. Local Japanese-sponsored film production remained negligible and the domestic exhibition market was too underdeveloped to be financially viable. However, Nichi'ei's occupation of the Indonesian film industry was a strategic victory over the West, demonstrating that a non-Western Asian nation could displace Hollywood and the Dutch. Indonesia was one of the last areas in the empire to surrender and many who worked at Nichi'ei stayed on after defeat to work for Indonesian independence from the Dutch.
Serangan Fajar is a 1982 Indonesian war film directed by Arifin C. Noer and produced by G. Dwipayana. Telling the lives of several persons during the Indonesian National Revolution, the film used wayang imagery to show heroism; the critically acclaimed film has been read as emphasising then-President Suharto's role in the revolution the General Offensive of 1 March. After the Japanese occupation, the Indonesian people begun fighting for independence, culminating with the 1 March 1949 general attack on the Dutch-held capital at Yogyakarta, led by Suharto. Amidst this backdrop two families face their personal issues. Temon has lost his father and lives with his grandmother. Meanwhile, the nobleman Romo is fighting for the nascent republic, while his wife is concerned about their daughter's relationship with a commoner. Serangan Fajar was directed by Arifin C. Noer and produced by Brigadier General G. Dwipayana of the state-run, Jakarta-based production house PPFN. Arifin wrote the script during production M Soleh Ruslani handled cinematography.
The completed film was edited by Supandi. Antonius Yacobus starred as Suharto, Dani Marsuni as Temon, Amoroso Katamsi as Romo. Other cast members included Noer's wife Jajang, Charlie Sahetapy, Suparmi. Serangan Fajar used traditional wayang imagery. Scholar of Indonesia Donald K. Emmerson suggests that this was to legitimise then-president Suharto and emphasise the story's heroism. Serangan Fajar was released in 1982. Before release its length was trimmed to 120 minutes. Reviewing in 1991, the American visual anthropologist Karl G. Heider wrote that the film was a "mild hagiography" which redefined Suharto's role in the revolution the General Attack of 1 March 1949, he compared it to the way the 1963 Hollywood film PT 109 portrayed then-President John F. Kennedy and redefined his role in the sinking. In September 1998, four months after the fall of Suharto, Information Minister Yunus Yosfiah stated that the film was an attempt to manipulate history and create a cult with Suharto in the centre. Two other films, Janur Kuning and Pengkhianatan G30S/PKI, were affected by the decree.
Janur Kuning portrayed Suharto as the hero behind the 1 March General Assault, while Pengkhianatan G30S/PKI emphasised the former president's role in stopping and destroying the 30 September Movement coup in 1965. A 35 mm copy is stored at Sinematek Indonesia. Serangan Fajar was nominated for nine Citra Awards at the 1982 Indonesian Film Festival, winning six, it received a special award for Best Child Actor at the same ceremony