Two versions of this festival lasted until 1975, until finally the version PWI Jaya Seksi Film forced to integrated with the FFI by the government. At the third year (1973), it was collided with FFI, which was held by Yayasan Film Indonesia (YFI-Foundation for Film Indonesia), led by Turino Djunaedi. In 1970, the journalist through PWI Jaya Seksi Film, spearheaded by Rosihan Anwar, Harmoko, and Zulharman, held a festival titled Pemilihan Best Actor/Actress (Selection Best Actor/Actress). As for Best Director went to Misbach Yusa Biran ( Dibalik Tjahaja Gemerlapan) At 1970 Apa Jang Kau Tjari Paloepi became the Asian Film Festival Best Film, the first Indonesian film that received awards at international festivals.ġ967 Syuman Djaya, who acted as government officials as well as filmmakers, encouraged the implementation of Pekan Apresiasi Film (Film Appreciation Week). Most prominent model was Apa Jang Kau Tjari Paloepi ( What Are You Looking For Paloepi, Asrul Sani, 1969). Dewan Produksi Film Nasional (DPFN-National Production Film Board), which produces a number of model films, was formed not long after that. One of its officials was Sjuman Djaya, graduate of the Moscow Academy of Cinematography-1965.
But politically the government embraced the film by formating Direktorat Film/Departemen Penerangan (Directorate of Film/Ministry of Information). Heated political situation was not much encouraging the development of national film. Continued by cooperation with Singapore to made Bajangan di Waktoe Fadjar. In 1962, Djamaluddin Malik and Usmar Ismail Malik cooperated witth Philippines, made Holiday in Bali, which was the first Indonesian color film.
After took part in a more friendly zone, among them Tiga Dara, Perfini made Pedjoeang, a films that delivered Bambang Hermanto as a Best Actor at Moscow Festival (1961). At a time when many of us today can get more better education and experience from around the world, somewhat surprisingly, cinema rights are being claimed by narrow minded interests with vulgar movement and understanding.ġ960 to 1966 was a period when political struggles take part on arts and cultural movements, including the national film industry. Things that can be learned from this history is that the press, politics, and creativity are the three main pillars in the life and development of Indonesia film industry. This article is a continuation from: Post-Colonialism only seven domestic films were made in 1999. In 1996, 33 films were made in Indonesia, with majority of the films produced were filled with adult-themed content, and later on decreased significantly. The majority of films produced were exploitive, adult-themed B-movies shown in budget cinemas and outdoor screenings or direct-to-video or television.
FILM ROMAN PICISAN RANO KARNO PLUS
Multivision Plus under Raam Punjabi, controlled one of many cinema companies who produced sinetron.
FILM ROMAN PICISAN RANO KARNO SERIAL
In decade, Indonesian cinema dominated by serial electronic cinema (sinetron). Rampant counterfeiting and television also contributed to the degradation of Indonesian cinema. The number of movies produced decreased significantly, from 115 movies in 1990 to just 37 in 1993. However, by the 1990s imports of foreign films resumed, and the artistic quality of Indonesian films was reduced due to competition, especially from the US and Hong Kong. Actors during this era included Deddy Mizwar, Eva Arnaz, Lidya Kandou, Onky Alexander, Meriam Bellina, Rano Karno, and Paramitha Rusady. The industry has also found appeal among teens with such fare as Pintar-pintar Bodoh (1982), and Maju Kena Mundur Kena (1984). Warkop’s comedy films, directed by Arizal also proved to be successful. Indonesian film industry reached its peak in the 1980s, with such successful films as Naga Bonar (1987) and Catatan Si Boy (1989).