Indonesian cinema after the new order : going mainstream / Thomas Barker.
Material type:![Text](/opac-tmpl/lib/famfamfam/BK.png)
- text
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- 9789882204751
- 9882204759
- 9789882204751
- 792.4309598 23
- PN1993.5.I84 B37 2019eb
Item type | Home library | Collection | Call number | Materials specified | Status | Date due | Barcode | |
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OPJGU Sonepat- Campus | E-Books EBSCO | Available |
Includes bibliographical references and index.
Introduction : Indonesian cinema after authoritarianism -- Indonesian cinema before reformasi -- From indie to mainstream -- Horrifying youth -- Marrying Islam and pop culture -- Audiences without cinemas -- Producing an oligopoly -- Friction : society, censorship, and government policy -- Conclusion : Indonesian cinema as pop culture.
Print version record.
"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."-- Provided by publisher.
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