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Middle Cinema - Navigating Art, Capi...

Stolee, Galen,

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Middle Cinema - Navigating Art, Capitalism, and Failure in the Indonesian Film Boom = = Middle Cinema - Menavigasi seni, kapitalisme, dan kegagalan dalam Film Indonesia /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Middle Cinema - Navigating Art, Capitalism, and Failure in the Indonesian Film Boom =/ Galen Stolee.
其他題名:	Middle Cinema - Menavigasi seni, kapitalisme, dan kegagalan dalam Film Indonesia /
作者:	Stolee, Galen,
面頁冊數:	1 electronic resource (232 pages)
附註:	Source: Dissertations Abstracts International, Volume: 86-05, Section: A.
Contained By:	Dissertations Abstracts International86-05A.
標題:	Cultural anthropology. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31560353
ISBN:	9798346533139

Middle Cinema - Navigating Art, Capitalism, and Failure in the Indonesian Film Boom = = Middle Cinema - Menavigasi seni, kapitalisme, dan kegagalan dalam Film Indonesia /
Stolee, Galen,

Middle Cinema - Navigating Art, Capitalism, and Failure in the Indonesian Film Boom =Middle Cinema - Menavigasi seni, kapitalisme, dan kegagalan dalam Film Indonesia /Galen Stolee. - 1 electronic resource (232 pages)

Source: Dissertations Abstracts International, Volume: 86-05, Section: A.

Drawing from three years of ethnographic research and observant participation, my dissertation centers on Indonesian popular cinema at a dynamic moment for the industry, having now become the most dominant in Southeast Asia. Theater attendance numbers are climbing to heights unimaginable two decades ago, driven by a growing middle class, increased foreign investment, and the enthusiasm of Gen-Z, who despite coming of age in the TikTok era, constitute the vast majority of Indonesian moviegoers today.But inside the film industry, producers still struggle to synthesize two distinct threads of cinema, the 'mainstream' romance and horror films that draw millions of young Indonesians to theaters but rarely break from established formulas and are seldom seen internationally, and the 'arthouse' films that attempt to experiment with form, provoke viewers with new themes or social critique, and have recently won critical acclaim at international film festivals, but are rarely watched by Indonesians. The late Indonesian director Richard Oh referred to this synthesis as "middle cinema"-a distinctly Indonesian form that could entertain and challenge audiences, and which he felt was critical for his nation's filmmakers to develop their medium's potential for building social consciousness within Indonesia and "soft power" abroad.When I was hired by a Jakarta film studio to create and produce a streaming comedy-drama miniseries about Indonesians encountering the new age spiritual tourism world in Bali, my intention from the onset was to seek out this middle space myself, applying everything I'd learned as student of both anthropology and of film, to craft an experience with my Indonesian co-producers and writers that would attract local and international audiences, while also introducing new formal styles and social themes that might inspire further experiments. The frictions we encountered-between the global and the local, the producer and their audience, and between art and commerce-together illustrate the impossibility and inevitability of dreaming big in the semi-periphery.

English

ISBN: 9798346533139Subjects--Topical Terms:

2122764
Cultural anthropology.
Subjects--Index Terms:

Autoethnography

Middle Cinema - Navigating Art, Capitalism, and Failure in the Indonesian Film Boom = = Middle Cinema - Menavigasi seni, kapitalisme, dan kegagalan dalam Film Indonesia /
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520 $a Drawing from three years of ethnographic research and observant participation, my dissertation centers on Indonesian popular cinema at a dynamic moment for the industry, having now become the most dominant in Southeast Asia. Theater attendance numbers are climbing to heights unimaginable two decades ago, driven by a growing middle class, increased foreign investment, and the enthusiasm of Gen-Z, who despite coming of age in the TikTok era, constitute the vast majority of Indonesian moviegoers today.But inside the film industry, producers still struggle to synthesize two distinct threads of cinema, the 'mainstream' romance and horror films that draw millions of young Indonesians to theaters but rarely break from established formulas and are seldom seen internationally, and the 'arthouse' films that attempt to experiment with form, provoke viewers with new themes or social critique, and have recently won critical acclaim at international film festivals, but are rarely watched by Indonesians. The late Indonesian director Richard Oh referred to this synthesis as "middle cinema"-a distinctly Indonesian form that could entertain and challenge audiences, and which he felt was critical for his nation's filmmakers to develop their medium's potential for building social consciousness within Indonesia and "soft power" abroad.When I was hired by a Jakarta film studio to create and produce a streaming comedy-drama miniseries about Indonesians encountering the new age spiritual tourism world in Bali, my intention from the onset was to seek out this middle space myself, applying everything I'd learned as student of both anthropology and of film, to craft an experience with my Indonesian co-producers and writers that would attract local and international audiences, while also introducing new formal styles and social themes that might inspire further experiments. The frictions we encountered-between the global and the local, the producer and their audience, and between art and commerce-together illustrate the impossibility and inevitability of dreaming big in the semi-periphery.
520 $a Berdasarkan tiga tahun penelitian etnografi dan partisipasi yang jeli, disertasi saya berpusat pada sinema populer Indonesia di momen yang dinamis bagi industri ini, yang kini telah menjadi yang paling dominan di Asia Tenggara. Jumlah penonton bioskop meningkat ke titik yang tak terbayangkan dua dekade lalu, didorong oleh kelas menengah yang terus tumbuh, meningkatnya investasi asing, dan antusiasme Gen-Z, yang meskipun tumbuh dewasa di era TikTok, merupakan mayoritas penonton bioskop Indonesia saat ini.Namun di dalam industri film, produser masih berjuang untuk memadukan dua aliran sinema yang berbeda, film roman dan horor 'arus utama' yang menarik jutaan anak muda Indonesia ke bioskop tetapi jarang keluar dari formula yang sudah mapan dan jarang ditonton secara internasional, dan film 'arthouse' yang mencoba bereksperimen dengan bentuk, memprovokasi penonton dengan tema baru atau kritik sosial, dan baru-baru ini memenangkan pujian kritis di festival film internasional, tetapi jarang ditonton oleh orang Indonesia. Almarhum sutradara Indonesia Richard Oh menyebut sintesis ini sebagai "sinema tengah"-bentuk khas Indonesia yang dapat menghibur dan menantang penonton, dan yang menurutnya penting bagi sineas negaranya untuk mengembangkan potensi media mereka dalam membangun kesadaran sosial di Indonesia dan "kekuatan lunak" di luar negeri.Ketika saya dipekerjakan oleh sebuah studio film Jakarta untuk membuat dan memproduksi miniseri komedi-drama streaming tentang orang Indonesia yang bertemu dengan dunia wisata spiritual zaman baru di Bali, niat saya sejak awal adalah mencari sendiri ruang tengah ini, menerapkan semua yang telah saya pelajari sebagai mahasiswa antropologi dan film, untuk menciptakan pengalaman dengan rekan produser dan penulis Indonesia saya yang akan menarik penonton lokal dan internasional, sambil juga memperkenalkan gaya formal dan tema sosial baru yang mungkin menginspirasi eksperimen lebih lanjut. Gesekan yang kami hadapi-antara global dan lokal, produser dan penonton mereka, dan antara seni dan perdagangan-bersama-sama menggambarkan ketidakmungkinanan dan keniscayaan bermimpi besar di semi-pinggiran.
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