Wayang, the Javanese, Sundanese, and Balinese shadow puppet theatre display several mythological legends such as Ramayana and Mahabharata. Other forms of local drama include the Javanese Ludruk and Ketoprak, the Sundanese Sandiwara, Betawi Lenong, and various Balinese dance drama. They incorporate humour and jest and often involve audiences in their performances. Some theatre traditions also include music, dancing and the silat martial art such as Randai from Minangkabau people of West Sumatra. It is usually performed for traditional ceremonies and festivals, and based on semi-historical Minangkabau legends and love story. Modern performing art also developed in Indonesia with their distinct style of drama.
Theatre and cinema
Indonesia
Indonesia | Theatre and cinema
Yes, Independent film making was a rebirth of the film industry since 1998. The film industry expanded after independence, with six films made in 1949 rising to 58 in 1955. Independent filmmaking was a rebirth of the film industry since 1998. Independent filmmaking was a rebirth of the film industry since 1998, where films started addressing previously banned topics, such as religion, race, and love.
what are the major global wind systems on earth
user
polar easterlies, westerlies to name a few.
assistant
what is the first one about?
user
are the dry, cold prevailing winds that blow from the high-pressure areas towards the low-pressure areas.
assistant
how does it effect the precipitation?
user
Orographic precipitation occurs on the windward side of mountains and is caused by the rising air motion of a large-scale flow of moist air across the mountain ridge, resulting in adiabatic cooling and condensation.
assistant
are there any trade that depend on this?
user
Yes, The trade winds.
assistant
what does it mean?
user
They are the prevailing pattern of easterly surface winds found in the tropics near the Earth's equator.
assistant
what is the length of the last thing mentioned?
user
The equator is 0.16% longer than a meridian.
assistant
where is it located?
user
The precise location of the equator is not truly fixed; the true equatorial plane is perpendicular to the Earth's rotation axis, which drifts about during a year.
assistant
which all countries does it pass through?
user
The equator passes through the land of 11 countries. Indonesia straddling the greatest length of the equatorial line.
assistant
how did this country mentioned get the name?
user
Derives from Greek and the word meaning "Indian islands".
assistant
can you name a few political parties that can be found here?
user
The Democratic Party, Great Indonesia Movement Party , Party of the Functional Groups, Prosperous Justice Party to name a few.
assistant
which are the main tourist spots here?
user
Bunaken National Park, Raja Ampat Islands,Komodo National Park, the Sawahlunto Coal Mine, royal palaces of Pagaruyung, Ubud, and Yogyakarta.
assistant
which animals are preserved in the first one?
user
Emperor angelfish, Almaco jack, spotted seahorse, bluestripe snapper, pinkish basslet and two-lined monocle bream to name a few.
assistant
what is the total population in the country?
user
16 million people, it is the world's 4th-most-populous country.
assistant
does it encourage film industry?
user
During 1926, there were movie theatres named as Oriental and Elita in Bandung. The first movie theatre in Jakarta was Alhamra, which was opened in 1931. Though the film industry is currently the fastest-growing sub-sector of Indonesia's creative economy, it went through a long, struggling period. The number of moviegoers in the country were more than 42 million in 2017. The Indonesian film industry releases more than 100 titles every year. As of 2018, there are about 1,700 screens in Indonesia, which is expected to reach 3,000 by 2020. 21 Cineplex, CGV Cinemas and Cinemaxx currently dominate the movie theatre industry in Indonesia.
Cinema of Indonesia | Introduction
However, the film industry failed to continue its successes in the 1990s, when the number of movies produced decreased significantly, from 115 movies in 1990 to just 37 in 1993. As a result, most movies produced in the 1990s contained adult themes. In addition, mov to dominate Indonesian cinema. The industry started to recover in the late 1990s, with the rise of independent directors and many new movies produced, such as Garin Nugroho's "Cinta dalam Sepotong Roti", Riri Riza and Mira Lesmana's "Petualangan Sherina" and "Arisan!" by Nia Dinata. Another form of recovery is the re-establishment of the Indonesian Film Festival (FFI), inactive for twelve years, and the creation of the Jakarta International Film Festival.
Culture of Indonesia | Cinema
Notable theatre, dance, and drama troupe such as "Teater Koma" are famous as it often portrays social and political satire of Indonesian society. The first film produced in the archipelago was "Loetoeng Kasaroeng", a silent film by Dutch director L. Heuveldorp. The film industry expanded after independence, with six films made in 1949 rising to 58 in 1955. Usmar Ismail, who made significant imprints in the 1950s and 1960s, is generally considered to be the pioneer of Indonesian films. The latter part of the Sukarno era saw the use of cinema for nationalistic, anti-Western purposes, and foreign films were subsequently banned, while the New Order utilised a censorship code that aimed to maintain social order.
Indonesia | Theatre and cinema
Between 2010 until 2011, due to the substantial increase in value-added tax applied to foreign films, cinemas no longer have access to many foreign films, including Oscar-winning films. Foreign films include major box offices from the West and other major film producers of the world. This has caused a massive ripple effect on the country's economy. It is assumed that this increases the purchase of unlicensed DVDs. However, even copyright violating DVDs now take longer to obtain. The minimum cost to view a foreign film not screened locally is IDR one million. This is equivalent to US$100, as it includes a plane ticket to Singapore.
Cinema of Indonesia | 2010s
Record shows there were movie theatres named as Oriental and Elita during 1926 in Bandung. The earliest cinema hall in Jakarta was Alhamra at Sawah Beasar which was established in 1931. Other old cinema halls in Jakarta were Astoria, Grand, Metropole, Rex, Capitol, Rivoli, Central, Orion etc. As of 2018, there are about 1700 screens in Indonesia, which is expected to reach 3000 by 2020. Cineplex 21, CGV Cinemas and Cinemaxx currently dominate the movie theatre industry in Indonesia with 1,003, 275 and 203 screens, respectively. The largest cinema chain in Indonesia is 21 Cineplex, which has cinemas spread throughout thirty cities on the islands of Sumatra, Java, Kalimantan, Bali, Sulawesi, Moluccas, and Papua.
Cinema of Indonesia | Movie theatres
Cinema production in Indonesia was pioneered in 1926 Dutch East Indies film "Loetoeng Kasaroeng", a silent film which was an adaptation of the Sundanese legend. Indonesian film industry reached its peak in the 1980s, before suffered significant decline in both quality and quantity in the 1990s. In the 2000s Indonesian film began to be revived and in the 2010s it became a growing industry; in 2005 Indonesian film production numbered only 33 and in 2014 it increased to 99 films a year. In recent years Indonesian films, especially silat fighting action genre, has gained worldwide attention. Particularly after the popularity of The Raid series.
Indonesian art | Cinema
This caused a massive ripple effect on the country's economy. It is assumed that this increased the purchase of unlicensed DVDs. However, even copyright violating DVDs took longer to obtain. The minimum cost to view a foreign film not screened locally, was 1 million Rupiah. This was equivalent to US$100, as it includes a plane ticket to Singapore.
Film industry | Indonesia
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. Then 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.
Cinema of Indonesia | Japanese occupation
In 2016, "Warkop DKI Reborn: Jangkrik Boss Part 1" smashed box office records, becoming the most-watched Indonesian film with 6.8 million tickets sold. Indonesia has held annual film festivals and awards, including the Indonesian Film Festival ("Festival Film Indonesia") that has been held intermittently since 1955. It hands out the Citra Award, the film industry's most prestigious award. From 1973 to 1992, the festival was held annually and then discontinued until its revival in 2004.
Indonesia | Theatre and cinema
Last but not least is Indonesian cinema. In the beginning the Indonesian cinema grew after World War I, rooted from the Folk Theater Drama called Dardanela. Under Usmar Ismail, Indonesian cinema became the new entertainment in 1950 to 1980. Hundred of film stars were born, such as: Citra Dewi (1960), Tanty Yosepha (1970). Yenny Rachman and Christine Hakim (1980) and Dian Sastro (late 1990s). Teguh Karya was one of the leading Film Director in Indonesia after the era of Usmar Ismail. Now, by the popularity of television, film is replaced with electronic cinema which is popular as sinetron. This industry has made the Indian born producer, Raam Punjabi, a tycon of sinetron in Indonesia.
South Asian cinema | Indian cinema
Production of films peaked during the 1980s, although it declined significantly in the next decade. Notable films in this period include "Pengabdi Setan" (1980), "Nagabonar" (1987), "Tjoet Nja' Dhien" (1988), "Catatan Si Boy" (1989), and Warkop's comedy films. Independent filmmaking was a rebirth of the film industry since 1998, where films started addressing previously banned topics, such as religion, race, and love. Between 2000 and 2005, the number of films released each year steadily increased. Riri Riza and Mira Lesmana were among the new generation of filmmakers who co-directed "Kuldesak" (1999), "Petualangan Sherina" (2000), "Ada Apa dengan Cinta?" (2002), and "Laskar Pelangi" (2008).
Indonesia | Theatre and cinema
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 (, 1944), voluntary enlistment into the Imperial Japanese Army (, 1944), and Japanese language acquisition by Indonesian children (, 1944). The great victory in Japan's occupation of the Indonesian film industry did not lie in financial gain. Local Japanese-sponsored film production (other than newsreels) remained essentially 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.
Cinema of Indonesia | Japanese occupation
The largest chain of cinemas in Indonesia is 21Cineplex, which has cinemas spread throughout twenty-four cities on the major islands of Indonesia. Many smaller independent cinemas also exist. In the 1980s, the film industry in Indonesia was at its peak, and dominated the cinemas in Indonesia with movies that have retained a high reputation, such as "Catatan Si Boy" and "Blok M" and actors like Onky Alexander, Meriam Bellina, Nike Ardilla and Paramitha Rusady. The film Tjoet Nja' Dhien (1988) winning 9 Citra Awards at the 1988 Indonesian Film Festival. It was also the first Indonesian movie chosen for screening at the Cannes Film Festival, where it was awarded Best International Film in 1989.
Culture of Indonesia | Cinema
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. The number of movies produced decreased significantly, from 115 in 1990 to just 37 in 1993. Rampant counterfeiting and television also contributed to the degradation of Indonesian cinema. In this decade, Indonesian cinema was dominated by serial electronic cinema ("sinetron"). Multivision Plus under Raam Punjabi, controlled one of many cinema companies who produced "sinetron". The majority of films produced were exploitive, adult-themed B-movies shown in budget cinemas and outdoor screenings or direct-to-video or television.
Cinema of Indonesia | 1990s
Indonesian films gained popularity at this time, although a small group of filmmakers continued to produce in Malaysia, forming the fourth stage. In the 1980s the local industry began to recover, bringing about the fifth and most eloquent stage, which covered more themes than any previous stage. This was also the first time non-Malay films began to have a significant presence. The government began to sponsor films in 1975, creating the National Film Development Corporation in 1981. Through this the government offers loans to filmmaker's who want to develop films, however the criteria for obtaining funds has been criticised as promoting only commercial films.
Culture of Malaysia | Cinema
All were black-and-white. The American visual anthropologist Karl G. Heider writes that all films from before 1950 are lost. However, JB Kristanto's "Katalog Film Indonesia" ("Indonesian Film Catalogue") records several as having survived at Sinematek Indonesia's archives, and Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service. Theatre plays by playwrights such as Victor Ido (1869–1948) were performed at the "Schouwburg Weltevreden", now known as Gedung Kesenian Jakarta. A less elite form of theatre, popular with both European and indigenous people, were the travelling Indo theatre shows known as Komedie Stamboel, made popular by Auguste Mahieu (1865–1903).
Dutch East Indies | Theatre and film
Under the "Reformasi" movement of the post-Suharto era, independent filmmaking was a rebirth of the film industry in Indonesia, where films started addressing topics which were previously banned such as religion, race, love and other topics. In 2002, the number of domestic films made increased from only six in 2001 to ten. It continued to increased significantly as the years passed on. Recent notable films include "Ada Apa dengan Cinta?" directed by Rudi Soedjarwo in 2002, Eliana Eliana, directed by Riri Riza, and "Arisan!" starring Tora Sudiro, which was released in 2005, "Beauty and Warrior", Indonesia's first animated feature film was released.
Cinema of Indonesia | 2000s
In 1996, 33 films were made in Indonesia, with the majority of the films produced were filled with adult-themed content, and later on, decreased significantly. Only seven domestic films were made in 1999.
Cinema of Indonesia | 1990s
The rise of China's political and economic standing at the turn of the 21st century became an impetus for their attempt to attract younger readers who seek to rediscover their cultural roots. During the first three decades of the 20th century, ethnic Chinese owned most, if not all, movie theaters in cities throughout the Dutch East Indies. Films from China were being imported by the 1920s, and a film industry began to emerge in 1928 with the arrival of the three Wong brothers from Shanghai—their films would dominate the market through the 1930s. These earliest films almost exclusively focused on the ethnic Chinese community, although a few examined inter-ethnic relations as a main theme.
Chinese Indonesians | Media
The biggest film studios in Southeast Asia has been soft opened on 5 November 2011 on 10 hectares of land in Nongsa, Batam Island, Indonesia. Infinite Frameworks (IFW) is a Singapore-based company (closed to Batam Island) which is owned by a consortium with 90 percent of it hold by Indonesian businessman and film producer, Mike Wiluan. In 2010–2011, due to the substantial increase in value added tax applied to foreign films, cinemas no longer had access to many foreign films, including Oscar-winning films. Foreign films include major box offices from the west, and other major film producers of the world.
Film industry | Indonesia
It hosts a competition, which hands out the Citra Award.
Cinema of Indonesia | Film festivals
Consequently, the high production costs brought about by the high taxes caused ticket admission to also go up. Thus leading to people opting for a different and cheaper form of entertainment particularly in television.
Cinema of the Philippines | 2000s: Decline of commercial movies and emergence of independent films
After independence, the Sukarno government used it for nationalistic, anti-imperalist purposes and foreign film imports were banned. After the overthrow of Sukarno by Suharto's New Order regime, films were regulated through a censorship code that aimed to maintain the social order and regime grip on society. Usmar Ismail, a director from West Sumatra, made a major imprint in Indonesian film in the 1950s and 1960s. Djamaluddin Malik's Persari Film often emulated American genre films and the working practices of the Hollywood studio system, as well as remaking popular Indian films.
Cinema of Indonesia | After independence
Compared to other national cinemas, the achievements of the Turkish film industry after 1950 are still remarkable. During the 1970s, the impact of TV and video as the new popular forms of media and political turmoil (often hand in hand with deep economic crises) caused a sharp drop in ticket sales, resulting in a steady decline starting around 1980 and continuing until the mid-1990s. The number of annual ticket sales decreased from a peak of 90 million tickets in 1966 to 56 million tickets in 1984 and only 11 million in 1990. Accordingly, the number of film theatres declined from approximately 2,000 in 1966 to 854 in 1984 and 290 in 1990.
Cinema of Turkey | Overview
"Kartinah" was released in late 1940, during a time of increased intellectualism in local films. Although audiences had high expectations, the academia were later critical of the film; they considered it as nothing more than entertainment, not having any educational value. However, the influx of new talent led Java Industrial Film to expand into different areas, creating subsidiaries for action and mystery films. The film is likely lost. The American visual anthropologist Karl G. Heider writes that all Indonesian films from before 1950 are lost. However, JB Kristanto's "Katalog Film Indonesia" ("Indonesian Film Catalogue") records several as having survived at Sinematek Indonesia's archives, and film historian Misbach Yusa Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service.
Kartinah | Release and reception
India's film industry produces more feature films than any other. In a year, it sold 3.6 billion tickets, more than any other film industry in the world (In comparison, Hollywood sold 2.6 billion tickets). The cinemas play a major role in spreading Indian culture worldwide. Indian cinema transcended its boundaries from the days of film Awara, a great hit in Russia. Bollywood films are seen in central and west Asia. Indian films have also found audience in eastern societies. India's film industry is now becoming increasingly popular in Western society, with Bollywood festivals occurring numerous cities and Bollywood dance groups performing in New Year's Eve celebrations, treatment which other non-English film industries generally do not receive.
India as an emerging superpower | Cinema
Achnas says: “In countries like South Korea, like Iran, there’s always some money from the government to make films that are not really for the mainstream market. That is not available here (Indonesia). I make films not purely for the mainstream market (so) I get my funding outside.” When speaking about making films in Indonesia, she claims “Indonesia is different because we don’t have an Indonesian diaspora, compared with the Indian or the Chinese.” In terms of the filmmaking world, Achnas is not surprised by the recycling process that is constantly seen in films. She states that, “It was the romantic teenage drama and then the horror genre came and now it's the comedies, and I predict it's probably the erotic films next because history repeats it- self.”
Nan Achnas | Career
The rate of production declined again after the Japanese occupation beginning in early 1942, closing all but one film studio. The majority of films produced during the occupation were Japanese propaganda shorts. Following the Proclamation of Indonesian Independence in 1945 and during the ensuing revolution several films were made, by both pro-Dutch and pro-Indonesian backers. Generally films produced in the Indies dealt with traditional stories or were adapted from existing works. The early films were silent, with "Karnadi Anemer Bangkong" ("Karnadi the Frog Contractor"; 1930) generally considered the first talkie; later films would be in Dutch, Malay, or an indigenous language.
Dutch East Indies | Theatre and film
The industry reached its peak in the 1980s, with successful films such as "Naga Bonar" (1987) and "Catatan si Boy" (1989). Warkop's comedy films, directed by Arizal also proved to be successful. The industry has also found appeal among teens with such fare as "Pintar-pintar Bodoh" (1982), and "Maju Kena Mundur Kena" (1984). Actors during this era included Deddy Mizwar, Eva Arnaz, Lidya Kandou, Onky Alexander, Meriam Bellina, Rano Karno, and Paramitha Rusady. The film Tjoet Nja' Dhien (1988) winning 9 Citra Awards at the 1988 Indonesian Film Festival. It was also the first Indonesian movie chosen for screening at the Cannes Film Festival, where it was awarded Best International Film in 1989.
Cinema of Indonesia | 1980s
CINEMA 21 is the largest movie theater chain in Indonesia. It serves 46 cities in Indonesia. Along with the demands of the times, CINEMA 21 has conducted a number of improvements and innovations, among which are to form a network movie theater into 3 separate brands, namely Cinema 21, Cinema XXI and The Premiere to target different markets. This movie network spread across several major cities throughout the archipelago and most of them located in shopping centers with Hollywood and Indonesian movies as the main menu, equipped with Dolby Digital and THX sound system. Recently, some cinemas are now equipped with Dolby Atmos, IMAX, and IMAX with Laser.
21 Cineplex | Introduction
More multiplexes with movie theatres, shopping centres and restaurants emerged in the country entering in the 21st century and as a result, the film industry was revived. Many changes and new additions were made in addition to movie theatre culture. One of them is that audiences are now able to enjoy leisure activities as they wait for the next screening time. In addition, as a result of technological advancements, movie films have become more engaging with the introduction of 3D and 4D movies that provide audiences with a more realistic experience. Lastly, movie theatres in Korea have pursued to increase the level of the comfort while watching movies and since then has divided itself into different types of theatre facilities.
Movie Theatre Culture in South Korea | Movie Theatres in South Korea Today
In 1955, 1960 and 1967 Pekan Apresiasi Film Nasional (English: National Film Appreciation Week) was held in Jakarta. From 1973–1992 the ceremony was renamed Festival Film Indonesia and became an annual event. The trophy/award was named Piala Citra (Citra Award). The All-Indonesia Cinema Owners' Association (Gabungan Pengusaha Bioskop Seluruh Indonesia, or GPBSI) awarded the Antemas Prize, named for the producer Antemas. From 1993–2003 the festival did not take place, because the quantity of good Indonesian movies had dropped significantly. In the 1990s, most Indonesian movie producers created low budget, B movies. Producers suffered revenue losses because of growing piracy. Since 1992, American, Hong Kong and Taiwanese movies took over many theaters.
Indonesian Film Festival | History
The city has a drama theater, dozens of movie theaters, nine of which (as of mid-2010) are set up at international standards. The presidential palace, administrative buildings and universities regularly host art exhibitions, and there are regular festivals of folk art, conferences and culture-related seminars, such as the Congress of Indonesian culture () of 2008.
Bogor | Culture
The movie industry was still thriving amongst the young demographic. However, the genre preference was divided into two groups and was significantly based on the level of academics and economic backgrounds. New movies was what attracted the higher educated group, whereas the middle to low educated group went for the re-runs and the lower quality screenings. The young, high class population grew up in the city and were used to American culture. On the other hand, the lower classes who came from rural areas, had low academic and economic standards and favoured Korean films more than American films.
Movie Theatre Culture in South Korea | 1980s
CINEMA 21 was the largest cinema network in Indonesia, which has spread across the archipelago. Before Cinema XXI's establishment, Cinema 21 controlled the overall market share of Indonesian moviegoers with varying ticket prices applied and the types of films shown, in accordance with the location and the intended target. After Cinema XXI was established, slowly Cinema 21 turned into second-class cinema network, with most of the films are local movies and foreign films that are not playing at the Cinema XXI anymore. However, this condition does not apply in smaller cities outside Jakarta which don't have any Cinema XXI theaters and where there are not many Cinema 21 theaters available.
21 Cineplex | CINEMA 21
These statistics are based on the highest international film year to year. The historical box office record in Indonesia was made by "" with over 1,400 screens in April 2019, before being broken "" earlier into the best selling international film of all time in Indonesia with income $25,288,929 of 1,200 screens during 7 weeks of viewing.
List of highest-grossing films in Indonesia | Year-to-year highest-grossing international films
Small theatres in Korea began to decrease once it reached the beginning of the ‘90s. Small business owners were at an advantage because they could screen films at a cheap rate, however, many were going out of business because they can no longer afford to replace the outdated technology. Meanwhile, the successful theatres eventually expanded through the help of strong financial support. During this time, instead of large theatres, complexes started to gain the interest of the people. These complexes were a collaboration between small and medium theatres, along with many entertainment facilities. The characteristic that attracted these large audiences was its ability to show a variety of films and providing activities all in one space.
Movie Theatre Culture in South Korea | 1990s (The Decline of Small Movie Theatres)
The native role was emphasised in the film's promotion; a poster for a screening at the Orient Theatre in Surabaya, for example, wrote that the film's native cast was equal to any American or European one. Of note is the film's use of the word "Indonesia", which was not to be formalised as a preferred term for the archipelago until the Youth Pledge in 1928.
Eulis Atjih | Production
Nonetheless, some local films continue to find success.
Philippines | Cinema
The credit scheme ensured original screen writing for the first time and stories which were copies of Hindi and Tamil were not entitled to receive loans. Thus a professional film production industry was established. The SFC instituted a film distribution system through which all films produced in the country were ensured exhibition according to system of precedence. Quality control of the cinemas was established by a system of inspection and checks on equipment.
Cinema of Sri Lanka | Government-instituted development and individual achievement (1971–1979); unprecedented surge in yearly admissions
The following are lists of the highest-grossing domestic and international films in Indonesia with gross revenue in Indonesian Rupiah and the number of tickets sold nationwide.
List of highest-grossing films in Indonesia | Introduction
Daun di Atas Bantal (1998) receivedAsia Pacific Film Festival in Taipei.
Culture of Indonesia | Cinema
However, with the "retomada" Brazilian film regained speed, though not to the same extent it had seen before. A significant increase in audience was recorded, however, from 2000 to 2002, with 7 million viewers, to 2003, when 22 million viewers came to theaters to watch national films. Because these films were made possible thanks to incentive laws introduced in the 1990s and that the number of viewers drawn in from year to year can fluctuate significantly, it is often questioned whether film production has in fact reached a certain amount of stability and whether or not it could in the future succumb to any governmental whims.
Cinema of Brazil | Domestic market
As a result, there are now more than 300 film companies registered with FINAS. In 1989 and 1990, over 20 feature films were produced, that was later decreased significantly, however, 15 feature films were made in 1995, with only one film that was not shown in cinemas, compared to only five feature films made in 1985. In the mid-2000s, Malaysian film industry saw an increase in number of domestic film production, from only seven films in 1999, to 26 films in 2009. The increase of domestic film production is because of new opening of cinemas and limitation to screening of foreign films in local cinemas.
Cinema of Malaysia | Renaissance, 1975–present
"" became the best-selling movie in 2016 with 4,3 million tickets for 8 weeks impressions, followed "" by 4,1 million tickets sold over 7 weeks of impressions.
List of highest-grossing films in Indonesia | 2016
Hollywood is the world's oldest national film industry, and remains the largest in terms of box office gross revenue. Indian cinema is the largest national film industry in terms of the number of films produced, with 1,813 feature films produced annually . , the national film industries with the highest annual ticket sales worldwide were Indian cinema with 3.5billion tickets sold, followed by Hollywood with 2.6billion tickets sold.
Film industry | Introduction
"This movie is a reminder for all of us of why we become Indonesia at the beginning. I hope this movie can encourage the young generation to love this country and to make our Indonesia better," Donny said. Despite a series of fighting and explosions scenes, you won't find a spectacular amount of action in this film, especially if you are a war movie lover. Allyn said that this first movie was more of an introduction of the characters and transitions of how they became mature. He promised that there would be more action scenes in the second and third movies.
Merah Putih (film) | Shooting the film
From the beginning, the Japanese government gave fewer subsidies than the western countries. Some people say that considering the ripple effect of culture through media, the Japanese government should give more subsidies. Subsidies to theaters are dependent on government officials and influential members of the Diet who are on the committees. Moreover, people think that subsidies are beneficial to members of the National Diet, so when the Japanese government makes subsidies, people express strong opposition. Many Japanese people do not trust their government.
Theater law | Popular support
As such, American visual anthropologist Karl G. Heider suggests that all Indonesian films from before 1950 are lost. However, JB Kristanto's "Katalog Film Indonesia" ("Indonesian Film Catalogue") records several as having survived at Sinematek Indonesia's archives, and the film historian Misbach Yusa Biran writes that some Japanese propaganda films can be found at the Netherlands Government Information Service.
Harta Berdarah | Legacy
It was nominated for seven awards at the 1984 Indonesian Film Festival, winning one, and reached record viewership numbers – although in many cases audiences were required to see the film. The film was used as a propaganda vehicle by the New Order government until its collapse; televised annually on 30 September and became mandatory viewing for students. Since the fall of Suharto in 1998, such use of the film has become less common. Although the film's artistic aspects remain well-received, its misrepresentation of history has been criticised.
Pengkhianatan G30S/PKI | Introduction
It has three separate brands to target different markets, namely Cinema 21, Cinema XXI, and The Premiere. Since 2012, Cinema 21 outlets are gradually being renovated to become Cinema XXI. Another cinema chain is Blitzmegaplex, which opened its first location in 2006. In 2017, the brand name was changed to CGV. As of January 2019 it has already opened 57 theaters with 249 screens in 21 cities across Indonesia. Its Megaplex at Grand Indonesia in Jakarta is dubbed Indonesia's largest cineplex by the MURI (Indonesian Record Museum).
Cinema of Indonesia | Movie theatres
Media freedom increased considerably after the fall of the New Order, during which the Ministry of Information monitored and controlled domestic media and restricted foreign media. The television market includes several national commercial networks and provincial networks that compete with public TVRI, which held a monopoly on TV broadcasting from 1962 to 1989. By the early 21st century, the improved communications system had brought television signals to every village and people can choose from up to 11 channels. Private radio stations carry news bulletins while foreign broadcasters supply programmes. The number of printed publications has increased significantly since 1998. Like other developing countries, Indonesia began development of the Internet in the early 1990s.
Indonesia | Mass media and literature
The revival in the industry also made changes to certain formats of the local film productions. Nearly all the films were made in colour, some using the scope format and some the standard format. There were no fixed salaries for artists attached to a certain company or studio. A company can only do two of three functions: production, distribution or exhibition to avoid a monopoly by a certain party. The producers also might be able to recover part of their investment by the return of the entertainment tax as a way of incentive. A further incentive to local film-makers is that they are invited to make television programmes either in film format or video format.
Cinema of Malaysia | Renaissance, 1975–present
The following countries are the largest box office markets in terms of the number of tickets sold annually, according to the UNESCO Institute for Statistics.
Film industry | Largest markets by number of box office admissions
Ifa says that the opposition of the film is caused by the dilemma of recent Indonesian culture, where the Muslim community is divided to Sufism or Wahhabism. In the Wahhabi teachings, one must follow the Arab culture to oppose Indonesia's signature culture as well as the arts of Hinduism and Buddhism. Rianto, in an interview with BBC Indonesia, argues "From its start to its end, there's no such thing as LGBT promotion. This is my motherland's culture."
Memories of My Body | Response
The success of "Terang Boelan" led to an increase in film production in the colony, many of the films following the same formula, including songs, beautiful scenery and romance. Before "Terang Boelan", local studios had generally been unsuccessful in finding a formula popular with audiences, but the triple successes of "Terang Boelan", "Fatima", and "Alang-Alang" ("Grass", 1939) revived the industry. Four new production houses were established in 1940, and actors and actresses previously attached to theatrical troupes entered the film industry, which was reaching new audiences. Most locally produced films released in the Indies were made between 1939 and the Japanese occupation in 1942.
Terang Boelan | Legacy
A proper copyright and distribution system still remained one of the major challenges in the New Nigerian Cinema; this owes to the initial unavailability of enough cinemas, thereby making it impossible for filmmakers to recoup their investments. As at 2014, Nigeria had just 23 movie theatres, with approximately hundred screens. This was pretty small for a population of 170 million, with a rapidly emerging middle class. More so, too small to sustain a large film industry. As a result of the inability to make profits through only cinema earnings, many of the new filmmakers have resorted to sponsorships and product placements as a means of recouping production costs.
New Nigerian Cinema | Distribution
The American visual anthropologist Karl G. Heider writes that all Indonesian films from before 1950 are lost; Kristanto records several as having survived at Sinematek Indonesia's archives, and film historian Misbach Yusa Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service.
Sorga Ka Toedjoe | Legacy
The Indonesian film market is in the C, D, E classes, and due to this, foreign porn stars such as Sasha Grey, Vicky Vette, Maria Ozawa, Sora Aoi, and Rin Sakuragi have been invited to play a part in movies. Most locally made movies are low-budget horror films. Locally made film quality has gone up since 2011, this was attested by the international release of films such as "The Raid" (2011) and its 2014 sequel, "Modus Anomali" (2012), "Dilema" (2012), "Lovely Man" (2012), "Java Heat" (2013) and "Pengabdi Setan" (2017).
Cinema of Indonesia | 2010s
The Cinema of Ethiopia and the film industry in general is a relatively recent phenomenon in Ethiopia. The Ethiopian film industry is growing, but faces many problems that have prevented it from fully flourishing. Historically live stage theater enjoyed more popularity in Ethiopia, creating a handful of relatively successful stage actors.
Cinema of Ethiopia | Introduction
Though his earlier works had been oriented at ethnic Chinese audiences, "Roesia si Pengkor" was targeted at the native population of the Indies. The success of the earlier films convinced him that it presented greater financial opportunities. This emphasis towards native audiences was also shown in advertisements, which repeatedly used the word "Indonesia", a word used by nationalists.
Roesia si Pengkor | Production
As such, American visual anthropologist Karl G. Heider suggests that all Indonesian films from before 1950 are lost. However, J.B. Kristanto's "Katalog Film Indonesia" records several as having survived at Sinematek Indonesia's archives, and the film historian Misbach Yusa Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service.
Air Mata Mengalir di Tjitarum | Legacy
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" (1928) and Tan's Film with "Njai Dasima" (1929). By the early 1930s Chinese-owned businesses were the dominating force in the country's film industry.
Cinema of Indonesia | Colonial era
The film is now likely lost. Movies were then shot on flammable nitrate film, and after a fire destroyed much of Produksi Film Negara's warehouse in 1952, old films shot on nitrate were deliberately destroyed. As such, the American visual anthropologist Karl G. Heider writes that all Indonesian films from before 1950 are lost. However, JB Kristanto's "Katalog Film Indonesia" ("Indonesian Film Catalogue") records several as having survived at Sinematek Indonesia's archives, and Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service.
Ouw Peh Tjoa | Release and reception
As such, American visual anthropologist Karl G. Heider suggests that all Indonesian films from before 1950 are lost. However, JB Kristanto's "Katalog Film Indonesia" ("Indonesian Film Catalogue") records several as having survived at Sinematek Indonesia's archives, and film historian Misbach Yusa Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service.
Soeara Berbisa | Legacy
This is listed by the tickets sold nationwide, as of January 7, 2019, according to the Filmindonesia.or.id. However, information on Filmindonesia.or.id was accrued since 2007, making some films that release before 2007 was not included or not accurated in number of admissions. Number of admissions for films that release before 2007 was collected from trusted articles or news.
List of highest-grossing films in Indonesia | Domestic films by admissions
Below is a chart plotting the box office from 2009–2013 in USD when adjusted for inflation. The attendance frequency also rose to its highest, with every person in Venezuela averaging 1.1 visits. In the following years, according to an article from 2017, the cost of marketing films during periods of hyperinflation particularly prevented exports to the nation, increasing the pirate DVD rates and in some periods decreasing cinema attendance. Despite rising ticket prices and reasonably steady viewership, Venezuelan cinema as an industry still makes a loss. Director Carlos Malavé explained in 2018 that "evidently, the Venezuelan cinema does not work", that "making a standard film in Venezuela [is] a lot of money compared with the return you'll get", and that "the market doesn't exist" for films in the country on the scale it does in others.
Cinema of Venezuela | Viewership and economy
As such, American visual anthropologist Karl G. Heider suggests that all Indonesian films from before 1950 are lost. However, Kristanto records several as having survived at Sinematek Indonesia's archives, and Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service.
Tjioeng Wanara | Legacy
Wayang, the Javanese, Sundanese, and Balinese shadow puppet theatre display several mythological legends such as Ramayana and Mahabharata. Other forms of local drama include the Javanese Ludruk and Ketoprak, the Sundanese Sandiwara, Betawi Lenong, and various Balinese dance drama. They incorporate humour and jest and often involve audiences in their performances. Some theatre traditions also include music, dancing and the silat martial art such as Randai from Minangkabau people of West Sumatra. It is usually performed for traditional ceremonies and festivals, and based on semi-historical Minangkabau legends and love story. Modern performing art also developed in Indonesia with their distinct style of drama.
Indonesia | Theatre and cinema
Unfortunately too many of us do just that: hence the glut of sub-mediocre talent in the entertainment industry. This is what forces cinema to expand and become more complex. Mass media entertainment dulls people's minds. It is a closed, entropic system, adding nothing new. (pp. 59–65) Entertainment dwells on the past. We live in "future shock" so art should be an invention of a future (pp. 66–69). New systems need to be designed for old information. The artist is a "design scientist".
Expanded Cinema | "Part One: The Audience and the Myth of Entertainment"
Nonetheless, by 2005 South Korea became a nation that watched more domestic than imported films in theatres due somewhat to laws placing limits on the number of foreign films able to be shown per theatre per year, Jameson">
Cinema of Korea | Introduction
The statistic on international films' Box office in "Indonesia", "Box Office Mojo" is the only website that provides the box office numbers for international films released in Indonesia
List of highest-grossing films in Indonesia | Highest-grossing international films in Indonesia
The film is likely lost, as are all Indonesian films from before 1950 according to American visual anthropologist Karl G. Heider. As elsewhere in the world at the time, movies produced in the Indies were shot on highly flammable nitrate film, and after a fire destroyed much of Produksi Film Negara's warehouse in 1952, old films shot on nitrate were deliberately destroyed. However, Kristanto records several as having survived at Sinematek Indonesia's archives, and film historian Misbach Yusa Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service.
Poesaka Terpendam | Release and reception
These works were well received. In the late 1920s, after spending some two years in Medan with the daily "Sinar Soematra", Andjar returned to Batavia and in 1929 helped establish the magazine "Doenia Film", a Malay adaptation of the Dutch-language magazine "Filmland"; although an adaptation, "Doenia Film" also contained original coverage of the domestic theatre and film industry. At the time, the cinema of the Indies was becoming established: the first domestic film, "Loetoeng Kasaroeng" ("The Lost Lutung"), was released in 1926, and four additional films were released in 1927 and 1928. Andjar wrote extensively regarding local cinematic and theatrical productions; for example, the Indonesian film critic Salim Said writes Andjar inspired the marketing for 1929's "Njai Dasima", which emphasised the exclusively native cast.
Andjar Asmara | Early life and theatre
A list of films produced in Indonesia by year of release. For films produced before 1950, see List of films of the Dutch East Indies.
List of Indonesian films | Introduction
Movies were then shot on highly flammable nitrate film, and after a fire destroyed much of Produksi Film Negara's warehouse in 1952, old films shot on nitrate were deliberately destroyed. As such, the American visual anthropologist Karl G. Heider suggests that all Indonesian films from before 1950 are lost. However, J.B. Kristanto's "Katalog Film Indonesia" records several as having survived at Sinematek Indonesia's archives, and Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service.
Mega Mendoeng | Release and legacy
Korean films and theatres thrived during the 1960s. The most favoured entertainment in 1962 became film and most influential media outlets, with a 34.8% increase of audience members.
Movie Theatre Culture in South Korea | 1960s
Owing to the film's theme of religious pluralism and controversial subject matter, Bramantyo had difficulty finding backing. Eventually, Mahaka Pictures put forth Rp 5 billion ($600,000) to fund the production. Filming began on 5 January 2011 in Semarang. Released on 7 April 2011, "?" was a critical and commercial success: it received favourable reviews and was viewed by more than 550,000 people. Also screened internationally, it was nominated for nine Citra Awards at the 2011 Indonesian Film Festival, winning one. However, several Indonesian Muslim groups, including the Indonesian Ulema Council and Islamic Defenders Front, protested against the film because of its pluralist message.
? (film) | Introduction
Cinema of Indonesia has a long history dated back to 1900. Until the 1920s, cinema in Indonesia belonged only to the Europeans, with silent documentaries and feature films imported from France and the United States. Documentaries about the nature and life of Indonesia, sponsored by the Dutch East Indies government were made by the Dutch people or Europeans. Domestic production of documentaries had begun in 1911. During that time, there was a film called Onze Oost or Timur Milik Kita (1919). However, the first domestically produced film in the Dutch East Indies was in 1926: "Loetoeng Kasaroeng", a silent film, which was an adaptation of the Sundanese legend of the same name.
Cinema of Indonesia | Introduction
The oil boom of 1973 through 1978 contributed immensely to the spontaneous boost of the cinema culture in Nigeria. The presence of foreign investments led to the erection of several cinema complexes. In 1976, The 5000-capacity National Arts Theatre, Iganmu was constructed in Lagos. The theatre was incorporated with two cinemas, each having a capacity of over 700 people. At this time cinema business had become a notable employer of many people and also served as an important social function, as Nigerians visited cinemas for relaxation and entertainment purposes. The increased purchasing power in Nigeria also made a wide range of citizens to have disposable income to spend on cinema-going and on home television sets.
Cinema of Nigeria | Golden Age (late 1950s - late 1980s)
"Roekihati" was released in 1940. Although the year marked a rise in intellectualism within the domestic film industry, "Roekihati" bucked the trend and instead was targeted at lower-class audiences; another such production was Java Industrial Film's "Rentjong Atjeh" (1940). The film was a commercial success. The production is likely a lost film. The American visual anthropologist Karl G. Heider writes that all Indonesian films from before 1950 are lost. However, JB Kristanto's "Katalog Film Indonesia" ("Indonesian Film Catalogue") records several as having survived at Sinematek Indonesia's archives, and Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service.
Roekihati | Release
The number of cinemagoers and the number of films made constantly increased, especially after 1958. In the 1960s the programs of the theater departments in the Language, History and Geography faculties of Ankara University and Istanbul University included cinema courses, as did the Press and Publications High School of Ankara University. A cinema branch was also established in the Art History Department of the State Fine Arts Academy.
Cinema of Turkey | The Yeşilçam era
The film is now likely lost. The American visual anthropologist Karl G. Heider writes that all Indonesian films from before 1950 are lost. However, JB Kristanto's "Katalog Film Indonesia" ("Indonesian Film Catalogue") records several as having survived at Sinematek Indonesia's archives, and Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service.
Lintah Darat | Legacy
Further, Indonesia's population increased from 117 to 200 million. Equally impressive is the growth of real wages between 1980 and 1992, with average wages in newly industrialised Asian countries increasing at a rate of 5 percent a year, whereas at the same employment in manufacturing increased by 6 per cent a year. In conclusion the growth period in the East Asian countries saw a large improvement in the overall standards of living.
East Asian model | Success of the model
The film is likely lost. As elsewhere in the world at the time, movies in the Indies were shot on highly flammable nitrate film, and after a fire destroyed much of Produksi Film Negara's warehouse in 1952, old films shot on nitrate were deliberately destroyed. As such, American visual anthropologist Karl G. Heider suggests that all Indonesian films from before 1950 are lost. However, JB Kristanto's "Katalog Film Indonesia" ("Indonesian Film Catalogue") records several as having survived at Sinematek Indonesia's archives, and film historian Misbach Yusa Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service.
Pantjawarna | Release and reception
As of May 2019, "" is currently the highest-grossing international films and opening weekend of all time in Indonesia with income $15,427,619.
List of highest-grossing films in Indonesia | List of highest-grossing international films
Although regular movie theaters now exist in all the largest cities, it is still necessary today to "lug a makeshift cinema from village to village to reach Bhutan movie-loving population," renting school auditoriums or setting up a tent in each venue. According to director Wangyel, "it takes a year to cover the country for screenings."
Cinema of Bhutan | Dissemination
"Terang Boelan" premiered on 8 December 1937 at the Rex Theatre in Batavia, the capital of the Dutch East Indies; it played to a nearly full theatre. Also marketed under the Dutch title "Het Eilan der Droomen", the film was advertised as showing that the Indies were as beautiful as Hawaii, a popular island paradise in Hollywood films. Posters also emphasised the use of Indonesian-language dialogue. William van der Heide, a lecturer on film studies at the University of Newcastle in Australia, notes that the film continued a trend of "Indonesianisation", or the application of a national (Indonesian) understanding to borrowed concepts; for "Terang Boelan" this indigenisation process involved the inclusion of "exotic local settings" and "keroncong" music.
Terang Boelan | Release and reception
The Menteng Cinema is also Groenewegen's first cinema project. His design for the cinema is greatly influenced by the work of Willem Dudok e.g. the Town Hall of Hilversum, but conformed to the tropical climate of Jakarta. The cinema building has a seating capacity of 1,088. The building boasted six "exhausters" to regulate air quality inside the building, an early form of air conditioning. The cinema featured a large Balinese mural in its spacious main hall, a bar, a café-restaurant with terrace, and a powder room. There were several classes of seating with tickets priced accordingly. Following the completion of Menteng Cinema, Groenewegen received other professional works for cinema in Indonesia.
Menteng Cinema | Design
V. Iyer, Mani Ratnam, and K. Balachander (see also: Indian film directors). With the opening up of the economy in recent years and consequent exposure to world cinema, audience tastes have been changing. In addition, multiplexes have mushroomed in most cities, changing the revenue patterns.
Culture of India | Cinema
Ever since production of films took place, there started the trend of film making that established and further progressed, resulting in formation of the film industry and new film production companies as well as studios.
Bombay Presidency | Film industry
In the later years of the decade, the industry saw the rise of Rajesh Hamal and Karishma Manandhar. In 1990, Nepal witnessed important political change. The people's movement brought the monarchy to its knees and democracy was restored. The society started to become open and vibrant. This had an important consequence for the fledgling film industry: It began to grow rapidly or even to "bloat". There was an unprecedented growth in the number of productions. Within three years, some 140 films were made. Distribution started to develop. Share in the existing market increased and the market itself expanded. Cinema halls increased to more than 300.
Cinema of Nepal | Golden era
However, the cinemas at start were still very under-patronized, owing to the fact that most of them were established in the upscale areas; "It hardly makes sense for people to travel far to indulge in the pleasure of watching films, especially with the attendant problems of traffic and logistics", stated Jide Kosoko, pushing for establishment of theatres in inner neighbourhoods and Local Government Areas. Much later, in the 2010s, FilmHouse cinemas also came into the picture, leading to more cinemas in the country and availability outside the affluent neighbourhoods.
New Nigerian Cinema | Return of the cinemas
Attendance in theaters rose and several productions became huge successes. New laws were also introduced that gave more rights to women, causing several female directors to launch careers. Aside from competition with Hollywood films, the Asian Financial Crisis, escalating cost of film production, exorbitant taxes, arbitrary and too much film censorship, high-tech film piracy, and rise of cable television further contributed for the trimming down of production costs of film outfits that resulted to falling box-office receipts of domestic films, and the eventual precarious state of the local film industry.
Cinema of the Philippines | Late 1980s to 1990s
Beginning in 1984 the New Order government used "Pengkhianatan G30S/PKI" as a propaganda vehicle, showing it annually on 30 September. The film was broadcast by the state-owned network TVRI, and later on private television stations after they were established. It was also shown at schools and government institutions; students would be taken to open fields to view the film in a group. Because of this use, Sen and Hill suggest that "Pengkhianatan G30S/PKI" is the most-broadcast and most-watched Indonesian film of all time. A 2000 survey by the Indonesian magazine "Tempo" found 97 per cent of the 1,101 students surveyed had seen the film; 87 per cent of them had seen it more than once.
Pengkhianatan G30S/PKI | Propaganda use
According to the records of the UP Film Institute, 122 films were produced in the year 1999 and 83 in 2000. In 2002, the number went even lower with having only 92 films then further went down to 80 in 2003. This decline in film production was attributed to the country's economic movement wherein the Philippine Film industry was considered as one of the heavily taxed industries in terms of equipment, materials and film stock and the imposition of a 30 percent amusement tax to be paid to the local government and a 12 percent value added tax to the central government.
Cinema of the Philippines | 2000s: Decline of commercial movies and emergence of independent films
Cinema of the Netherlands refers to the film industry based in the Netherlands. Because the Dutch film industry is relatively small, and there is little or no international market for Dutch films, almost all films rely on state funding. This funding can be achieved through several sources, for instance through the Netherlands Film Fund or the public broadcast networks. In recent years the Dutch Government has established several tax shelters for private investments in Dutch films.
Cinema of the Netherlands | Introduction
The popularity of Ninasam prompted the Ford Foundation to sponsor a project called Janaspandana whereby similar film festivals, plays and appreciation courses were to be organised in other areas of Karnataka. This project ended in 1985 but the activities have continued. It is estimated that about 200 thousand people were exposed to cinema and around 5000 people were exposed to the appreciation courses. As a result of Janaspandana, 37 workshops in a duration of 6 weeks were held in the field of theater and this yielded around 50 productions. Theater equipment banks were set up in different regions of Karnataka to serve the needs of the theater groups in that region.
Ninasam | Janaspandana
During this period, the cinema was the most popular pastime in fact following the war "the average 'A' film reached an audience of thirteen million in 1948, a large audience than could be claimed by any single magazine, book or newspaper". It was the prime form for entertainment and reached all members of society. In fact, going to the cinema was such a special occasion because the audience were treated to the entertainment within dazzling movie palaces. These buildings equated with the power of this industry they not only showed films but they were prime source of news distribution because they held such large audiences.
Entertainment industry during World War II | Impact of the film industry
They note that, unlike the homogenous national identity offered in "Darah dan Doa", these Chinese-produced films offered the possibility of a heterogeneous identity. The Indonesian film community began celebrating the first day of "Darah dan Doa" shooting, 30 March, as National Film Day in 1950. In a 1962 conference of the National Film Board of Indonesia, the date was given more formal recognition as National Film Day, and "Darah dan Doa" was recognised as the first "national film". National Film Day was formally established in 1999, when President B. J. Habibie passed Presidential Decree no. 25/1999. According to actor turned film director Slamet Rahardjo, the commemoration is so that "Indonesians acknowledge their local film industry and are willing to develop it".
Darah dan Doa | Legacy