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class="left-panel-container"><div class="user-info-component-wrapper"><div class="user-summary-cta-container"><div class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="Ekky Imanjaya" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/875313/316375/93976751/s200_ekky.imanjaya.jpg" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">Ekky Imanjaya</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://ubn.academia.edu/">Bina Nusantara University</a>, <a class="u-tcGrayDarker" href="https://ubn.academia.edu/Departments/Film/Documents">Film</a>, <span class="u-tcGrayDarker">Faculty Member</span></div><div><a class="u-tcGrayDarker" href="https://uva.academia.edu/">University of Amsterdam</a>, <a class="u-tcGrayDarker" href="https://uva.academia.edu/Departments/Film_Studies/Documents">Film Studies</a>, <span class="u-tcGrayDarker">Alumnus</span></div><div><a class="u-tcGrayDarker" href="https://ui.academia.edu/">University of Indonesia</a>, <a class="u-tcGrayDarker" href="https://ui.academia.edu/Departments/Arabic_Studies_Program/Documents">Arabic Studies Program</a>, <span class="u-tcGrayDarker">Alumnus</span></div><div><a class="u-tcGrayDarker" href="https://ui.academia.edu/">University of Indonesia</a>, <a class="u-tcGrayDarker" href="https://ui.academia.edu/Departments/Philosophy/Documents">Philosophy</a>, <span class="u-tcGrayDarker">Alumnus</span></div><div><a class="u-tcGrayDarker" href="https://eastanglia.academia.edu/">University of East Anglia</a>, <a class="u-tcGrayDarker" href="https://eastanglia.academia.edu/Departments/School_of_Film_Television_and_Media_Studies/Documents">School of Film, Television and Media Studies</a>, <span class="u-tcGrayDarker">Alumnus</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="Ekky" data-follow-user-id="875313" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden profile-cta-button grow js-profile-unfollow-button" data-broccoli-component="user-info.unfollow-button" data-click-track="profile-user-info-unfollow-button" data-unfollow-user-id="875313"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">done</span>Following</button></div></div><div class="user-stats-container"><a><div class="stat-container js-profile-followers"><p class="label">Followers</p><p class="data">1,617</p></div></a><a><div class="stat-container js-profile-followees" data-broccoli-component="user-info.followees-count" data-click-track="profile-expand-user-info-following"><p class="label">Following</p><p class="data">1,233</p></div></a><a><div class="stat-container js-profile-coauthors" data-broccoli-component="user-info.coauthors-count" data-click-track="profile-expand-user-info-coauthors"><p class="label">Co-authors</p><p class="data">6</p></div></a><div class="js-mentions-count-container" style="display: none;"><a href="/EkkyImanjaya/mentions"><div class="stat-container"><p class="label">Mentions</p><p class="data"></p></div></a></div><a href="https://ubn.academia.edu/EkkyImanjaya/Analytics"><div class="stat-container"><p class="label"><span class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></a></div><div class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">Ekky Imanjaya Ph.D is a faculty member of Film Department, Bina Nusantara (Binus) University, in Jakarta. In 2018, He finished his doctoral studies in Film Studies at University of East Anglia, United Kingdom. Previously, Ekky got his masters degree majoring Philosophy at Universitas Indonesia (2003) as well as in Film Studies at Universiteit van Amsterdam (2008).  <br />Ekky is also a film critic specializing in Indonesian cinema, and a board member of the Madani Film Festival and Jakarta Film Week. He is also a film critic and has published his articles in many popular magazines and newspapers as well as academic journals, including Cinemaya, Colloquy,  Plaridel and Asian Cinema. He published some books regarding Indonesian films, pop culture, and Islamic culture issues, including "Mencari Film Madani: Sinema dan Dunia Islam" (2019),  "Mujahid Film: Usmar Ismail" (2021), "99 Film Madani" (with Hikmat Darmawan, 2022), and  "“The Real Guilty Pleasures: Menimbangulang Sinema Eksploitasi Transnasional Orde Baru”. <br /><br />Ekky is currently the chairperson of Film Committee at Jakarta Arts Council (2021-2023).<br /><b>Address: </b>Twitter/IG: @ekkyij<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><p class="ds2-5-body-md-bold">Related Authors</p></div><ul class="suggested-user-card-list"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://nottingham-my.academia.edu/DrThomasBarker"><img class="profile-avatar u-positionAbsolute" alt="Thomas A . 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style="margin: 0px;"></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Ekky Imanjaya</h3></div><div class="js-work-strip profile--work_container" data-work-id="125309203"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125309203/Wayang_Kulit_Show_Layar_Tancap_Traveling_Cinema_Show_and_History_of_Pre_Cinema"><img alt="Research paper thumbnail of Wayang Kulit Show, Layar Tancap (Traveling Cinema Show), and History of Pre-Cinema" class="work-thumbnail" src="https://attachments.academia-assets.com/119376705/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125309203/Wayang_Kulit_Show_Layar_Tancap_Traveling_Cinema_Show_and_History_of_Pre_Cinema">Wayang Kulit Show, Layar Tancap (Traveling Cinema Show), and History of Pre-Cinema</a></div><div class="wp-workCard_item"><span>Framing: Journal of Art, Film, Television, Animation, Games and Technology</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article will investigate that Javanese and Balinese Wayang Kulit Performance should be consi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article will investigate that Javanese and Balinese Wayang Kulit Performance should be considered a<br />legitimate "grandfather" of modern cinema—especially in the archaeology of projection and screen. The author<br />will apply Castle's Phantasmagoria and Manovich's Archaeology of the screen as the analysis tools. The paper<br />will also examine direct connections between Wayang Kulit Show and contemporary cinema, particularly Layar<br />tancap (traveling cinema), which emerged in the late 1890s in Southeast Asia Furthermore, finally, the paper will<br />investigate to what extent the tradition of the Wayang show and its apparatus has influenced some of Indonesia's<br />as well as Malaysia’s terms of modern cinema to Indonesia's Layar tancap (traveling cinema). This research is<br />in the same spirit as Thomas Elsaesser's proposal about the new way to reconstruct film history, moreover,<br />consider expanding the pre-history cinema to Indonesia's shadow puppetry and putting Layar tancap as part of the<br />global non-theatrical exhibition culture.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f126258e293067f689faed377175eedc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119376705,"asset_id":125309203,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119376705/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125309203"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125309203"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125309203; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125309094"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125309094/THE_PARADOXICAL_POLICIES_POLITICS_OF_TASTES_AND_CLASSIC_INDONESIAN_EXPLOITATION_CINEMA_OF_THE_NEW_ORDER_REGIME"><img alt="Research paper thumbnail of THE PARADOXICAL POLICIES, POLITICS OF TASTES, AND CLASSIC INDONESIAN EXPLOITATION CINEMA OF THE NEW ORDER REGIME" class="work-thumbnail" src="https://attachments.academia-assets.com/119376609/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125309094/THE_PARADOXICAL_POLICIES_POLITICS_OF_TASTES_AND_CLASSIC_INDONESIAN_EXPLOITATION_CINEMA_OF_THE_NEW_ORDER_REGIME">THE PARADOXICAL POLICIES, POLITICS OF TASTES, AND CLASSIC INDONESIAN EXPLOITATION CINEMA OF THE NEW ORDER REGIME</a></div><div class="wp-workCard_item"><span>Jurnal Wacana Politik</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated"> Although the New Order Regime (1966-1998) was widely known for its strict censorship and governm...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Although the New Order Regime (1966-1998) was widely known for its strict censorship and government<br />control, there was a simultaneous rise in producing exploitation films with graphic and provocative images. This kind of<br />cinema was exported internationally in the 1980s and re-released in the 2000s by transnational DVD distributors. This<br />article analyzed the transformation of exploitation films, which were disregarded and undervalued by the Government,<br />cultural elites, and cinema critics. It explored how these films became a battleground for the politics of taste and resulted in a<br />series of contradictions within the political policies of the New Order. The study focused on policy studies, examining film-<br />related policies (such as presidential decree and censorship regulations), and analyzed the findings by thoroughly examining<br />the regulations’ trends, patterns, and anomalies. As a result, paradoxically, the New Order had to undertake trial and error<br />towards the films that they were actually shunned, which resulted in the blooming of this kind of movie.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9be769b3706eef20c6f580352eb6826e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119376609,"asset_id":125309094,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119376609/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125309094"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125309094"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125309094; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125309094]").text(description); $(".js-view-count[data-work-id=125309094]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125309094; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125309094']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125309037"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125309037/Progressing_but_also_degrading_The_representation_of_environmental_destruction_and_life_in_the_future_in_i_WALL_E_i_"><img alt="Research paper thumbnail of Progressing but also degrading: The representation of environmental destruction and life in the future in <i>WALL-E</i>" class="work-thumbnail" src="https://attachments.academia-assets.com/119376593/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125309037/Progressing_but_also_degrading_The_representation_of_environmental_destruction_and_life_in_the_future_in_i_WALL_E_i_">Progressing but also degrading: The representation of environmental destruction and life in the future in <i>WALL-E</i></a></div><div class="wp-workCard_item"><span>E3S web of conferences</span><span>, Dec 31, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The sophisticated technology-such as AI, robots, and other automation machines-can be a double-ed...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The sophisticated technology-such as AI, robots, and other automation machines-can be a double-edged dagger. On the one hand, they can help humans and humanity to have a better and easier life. On the other hand, they can lead to environmental problems-from plastic and electronic waste to obesityand, finally: Environmental destruction. In addition, a movie, including an animated film, can be a valuable and powerful vehicle as an educational tool to raise awareness of environmental issues as it can represent the negative effect of technology on the environment if people do not consider overcoming the ecological problems and maintaining biospheric harmony. This research will focus on the movie WALL-E (Andrew Stanton, 2008) and how it represents environmental damage and future life. By closely reading the film, the authors will analyse the struggle of life in the near future when the Earth is heavily polluted and full of trash and their attempt to return to sustainable well-being.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="95485dfcce31e4bb3555392728ef2ecc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119376593,"asset_id":125309037,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119376593/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125309037"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125309037"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125309037; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125309036"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/125309036/Gender_Swap_Reboot_Film_Consumption_and_Social_Activism_in_Ghostbusters_2016_"><img alt="Research paper thumbnail of Gender Swap Reboot, Film Consumption and Social Activism in Ghostbusters (2016)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/125309036/Gender_Swap_Reboot_Film_Consumption_and_Social_Activism_in_Ghostbusters_2016_">Gender Swap Reboot, Film Consumption and Social Activism in Ghostbusters (2016)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this paper, the authors will try to better understand the phenomenon of gender swap film reboo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this paper, the authors will try to better understand the phenomenon of gender swap film reboots by offering insight into why gender swap films are made in the first place , their purpose, and the role they play in Hollywood regarding gender equality and diversity. Since most gender swap reboots are adaptations from well-known franchises, it could give a new perspective and dimension to the story by telling it from the viewpoint of different genders. We assume that gender swap reboots were made to diversify movie casts by having female actors replace male actors and normalize the idea that women can do the same things as men. To prove our hypothesis, we will use a literature review and Netnography. In our study, we discovered that a handful of internet personalities and fans alike reject the idea of Ghostbusters (2016) because it has a different image from those they knew, which we argue is due to the gender swap factor itself. On the other hand, social activism also interplayed with gender swap phenomenon.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125309036"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125309036"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125309036; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125309036]").text(description); $(".js-view-count[data-work-id=125309036]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125309036; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125309036']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=125309036]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125309036,"title":"Gender Swap Reboot, Film Consumption and Social Activism in Ghostbusters (2016)","internal_url":"https://www.academia.edu/125309036/Gender_Swap_Reboot_Film_Consumption_and_Social_Activism_in_Ghostbusters_2016_","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125309035"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/125309035/Transnational_Exploitation_Cinema_in_Southeast_Asia"><img alt="Research paper thumbnail of Transnational Exploitation Cinema in Southeast Asia" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/125309035/Transnational_Exploitation_Cinema_in_Southeast_Asia">Transnational Exploitation Cinema in Southeast Asia</a></div><div class="wp-workCard_item"><span>Amsterdam University Press eBooks</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Under authoritarian rule, Indonesia and the Philippines developed production systems to facilitat...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Under authoritarian rule, Indonesia and the Philippines developed production systems to facilitate the export of films to the global exploitation and B-grade markets. Framed by the colonial relationship with the United States, independent Filipino producers in the 1950s began working with mostly American partners on diverse low-cost titles. By the 1970s, the Philippines had become the choice location for many foreign co-productions. In Indonesia in the early 1980s, a group of local producers similarly pursued exploitation production for global export as a means to generate income. Production in both countries is framed by the Manila International Film Festivals (1982-1983), which marked Imelda Marcos’s attempt to formalize the co-production industry and make Southeast Asia a new hub for co-production and export.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125309035"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125309035"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125309035; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125309035]").text(description); $(".js-view-count[data-work-id=125309035]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125309035; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125309035']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=125309035]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125309035,"title":"Transnational Exploitation Cinema in Southeast Asia","internal_url":"https://www.academia.edu/125309035/Transnational_Exploitation_Cinema_in_Southeast_Asia","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125309034"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/125309034/11_Transnational_Exploitation_Cinema_in_Southeast_Asia_The_Cases_of_Indonesia_and_the_Philippines"><img alt="Research paper thumbnail of 11. Transnational Exploitation Cinema in Southeast Asia. The Cases of Indonesia and the Philippines" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/125309034/11_Transnational_Exploitation_Cinema_in_Southeast_Asia_The_Cases_of_Indonesia_and_the_Philippines">11. Transnational Exploitation Cinema in Southeast Asia. The Cases of Indonesia and the Philippines</a></div><div class="wp-workCard_item"><span>Amsterdam University Press eBooks</span><span>, Dec 31, 2020</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125309034"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125309034"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125309034; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125309034]").text(description); $(".js-view-count[data-work-id=125309034]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125309034; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125309034']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=125309034]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125309034,"title":"11. Transnational Exploitation Cinema in Southeast Asia. The Cases of Indonesia and the Philippines","internal_url":"https://www.academia.edu/125309034/11_Transnational_Exploitation_Cinema_in_Southeast_Asia_The_Cases_of_Indonesia_and_the_Philippines","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="107488481"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/107488481/Documentary_Cinema_Plastic_Waste_Problem_and_Environmental_Sustainability_the_Case_of_Pulau_Plastik"><img alt="Research paper thumbnail of Documentary Cinema, Plastic Waste Problem, and Environmental Sustainability: the Case of Pulau Plastik" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/107488481/Documentary_Cinema_Plastic_Waste_Problem_and_Environmental_Sustainability_the_Case_of_Pulau_Plastik">Documentary Cinema, Plastic Waste Problem, and Environmental Sustainability: the Case of Pulau Plastik</a></div><div class="wp-workCard_item"><span>IOP Conference Series: Earth and Environmental Science</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Cinema, particularly documentary, can be a powerful vehicle for raising awareness of environmenta...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Cinema, particularly documentary, can be a powerful vehicle for raising awareness of environmental sustainability. In the paper, the documentary film Pulau Plastik (Dandhy Laksono and Rahung Nasution 2021) is the subject of analysis. The film has its premiere at the end of April 2021 in the cinema theatre in Jakarta, Yogyakarta, Surabaya and Denpasar and shows the plastic waste and its environmental damage. The documentary uses mise-en-scéne in its plot to evoke certain experience and emotion of the audience which we will examine its role and its psychological impact with the texts of the French philosopher Maurice Marleau-Ponty in the Philosophy of Embodiment, American experimental psychologist James Gibsons in Ecological Perception and American philosopher Sue Cataldi in Feelings, Depth and Flesh. The directors also use Cinéma Vérité Approach to strengthen the effect towards audience.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="107488481"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="107488481"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 107488481; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=107488481]").text(description); $(".js-view-count[data-work-id=107488481]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 107488481; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='107488481']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=107488481]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":107488481,"title":"Documentary Cinema, Plastic Waste Problem, and Environmental Sustainability: the Case of Pulau Plastik","internal_url":"https://www.academia.edu/107488481/Documentary_Cinema_Plastic_Waste_Problem_and_Environmental_Sustainability_the_Case_of_Pulau_Plastik","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="107488450"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/107488450/Three_ecological_monsters_in_Bong_Joon_Ho_s_films"><img alt="Research paper thumbnail of Three “ecological monsters” in Bong Joon-Ho’s films" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/107488450/Three_ecological_monsters_in_Bong_Joon_Ho_s_films">Three “ecological monsters” in Bong Joon-Ho’s films</a></div><div class="wp-workCard_item"><span>IOP Conference Series: Earth and Environmental Science</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">As Parasite wins four Oscar awards at 2019 Academy Awards, including Best Picture and Best Direct...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">As Parasite wins four Oscar awards at 2019 Academy Awards, including Best Picture and Best Director, more film scholars and critics pay more attention to the South Korean film industry, particularly to the film director, Bong Joon-Ho. Regarding biospheric harmony, the director depicts “ecological monsters” in his works, namely toxic chemical waste, Genetically Modified Organisms (GMOs) and cruelty towards animals, and the frozen earth caused by global warming. By having a close reading and textual analysis on The Host (2006), Snowpiercer (2013), and Okja (2016), the research will focus on those films directed by Bong Joon-Ho, which represent the horrific environmental issues. Particularly, the authors will investigate how the three films depict the discourses of ecological problems. The results show how strong messages regarding ecological issues are represented in the three films, metaphorically and literally and become valuable lessons for environmentalists and film scholars/filmm...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="107488450"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="107488450"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 107488450; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=107488450]").text(description); $(".js-view-count[data-work-id=107488450]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 107488450; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='107488450']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=107488450]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":107488450,"title":"Three “ecological monsters” in Bong Joon-Ho’s films","internal_url":"https://www.academia.edu/107488450/Three_ecological_monsters_in_Bong_Joon_Ho_s_films","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="106788379"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/106788379/Gender_Swap_Reboot_Film_Consumption_and_Social_Activism_in_Ghostbusters_2016"><img alt="Research paper thumbnail of Gender Swap Reboot, Film Consumption and Social Activism in Ghostbusters (2016" class="work-thumbnail" src="https://attachments.academia-assets.com/105792209/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/106788379/Gender_Swap_Reboot_Film_Consumption_and_Social_Activism_in_Ghostbusters_2016">Gender Swap Reboot, Film Consumption and Social Activism in Ghostbusters (2016</a></div><div class="wp-workCard_item"><span>2023 International Conference on Digital Applications, Transformation & Economy (ICDATE) (IEEE)</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this paper, the authors will try to better understand the phenomenon of gender swap film reboo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this paper, the authors will try to better understand the phenomenon of gender swap film reboots by offering insight into why gender swap films are made in the first place , their purpose, and the role they play in Hollywood regarding gender equality and diversity. Since most gender swap reboots are adaptations from well-known franchises, it could give a new perspective and dimension to the story by telling it from the viewpoint of different genders. We assume that gender swap reboots were made to diversify movie casts by having female actors replace male actors and normalize the idea that women can do the same things as men. To prove our hypothesis, we will use a literature review and Netnography. In our study, we discovered that a handful of internet personalities and fans alike reject the idea of Ghostbusters (2016) because it has a different image from those they knew, which we argue is due to the gender swap factor itself. On the other hand, social activism also interplayed with gender swap phenomenon.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a9e84d257d912a91346bcf2d80e51b07" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":105792209,"asset_id":106788379,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/105792209/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106788379"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106788379"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106788379; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=106788379]").text(description); $(".js-view-count[data-work-id=106788379]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 106788379; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='106788379']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a9e84d257d912a91346bcf2d80e51b07" } } $('.js-work-strip[data-work-id=106788379]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":106788379,"title":"Gender Swap Reboot, Film Consumption and Social Activism in Ghostbusters (2016","internal_url":"https://www.academia.edu/106788379/Gender_Swap_Reboot_Film_Consumption_and_Social_Activism_in_Ghostbusters_2016","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[{"id":105792209,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/105792209/thumbnails/1.jpg","file_name":"Gender_Swap_Reboot_Film_Consumption_and_Social_Activism_in_Ghostbusters_2016.pdf","download_url":"https://www.academia.edu/attachments/105792209/download_file","bulk_download_file_name":"Gender_Swap_Reboot_Film_Consumption_and.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/105792209/Gender_Swap_Reboot_Film_Consumption_and_Social_Activism_in_Ghostbusters_2016-libre.pdf?1695032576=\u0026response-content-disposition=attachment%3B+filename%3DGender_Swap_Reboot_Film_Consumption_and.pdf\u0026Expires=1739830922\u0026Signature=B-RNqsMGYoMJQBTg~ZQmWRl1Yj~YRURy74jc6j3cA6ZZhRe96bKV-QePqSimaQ9XzARYTZvdRrVT4OxxeNmgM7rhA5TUijbv9VHnQes2fuS9u-iCJIF2LIOBFPT-TkTh8OmExMmwrsnbPHOyfq7-a9HybfkeL4~kxsZxImJPQWjUE04eTjupiIgYmr6dFDpihEK0sXm~d~Kzw-98QT9LsLzJSsnbeG2edNqk8vOoCv8hAbq5SchWHV8ND5bzVhhwGTfbKf64xhRsuAUty6Gi0m18kDEb-yWHAx5p2hp5NFkVlff1CK9pEz1Vq-UEjlmJhy8Mnc-j7uNiFoR9yzWRYQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="106788096"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/106788096/Effective_Storytelling_Techniques_in_Environmental_Documentaries_to_Promote_Lasting_Social_Change_An_Analysis_of_Blackfish_and_An_Inconvenient_Truth_"><img alt="Research paper thumbnail of Effective Storytelling Techniques in Environmental Documentaries to Promote Lasting Social Change: An Analysis of "Blackfish" and "An Inconvenient Truth"" class="work-thumbnail" src="https://attachments.academia-assets.com/105792080/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/106788096/Effective_Storytelling_Techniques_in_Environmental_Documentaries_to_Promote_Lasting_Social_Change_An_Analysis_of_Blackfish_and_An_Inconvenient_Truth_">Effective Storytelling Techniques in Environmental Documentaries to Promote Lasting Social Change: An Analysis of "Blackfish" and "An Inconvenient Truth"</a></div><div class="wp-workCard_item"><span>E3S Web of Conferences 426, 01103 (2023) </span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">by: Ephraim Ryan , Azwa Hanan, and Ekky Imanjaya In response to the pressing need to address cl...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">by: Ephraim Ryan , Azwa Hanan, and Ekky Imanjaya<br /><br /> In response to the pressing need to address climate change, there has been a growing interest in  utilizing documentaries as a powerful tool for raising awareness and fostering social change. This study  adopts a comprehensive approach to analyze two influential environmental documentaries, namely  Blackfish and An Inconvenient Truth. By employing a qualitative research methodology, specifically content<br />analysis, we aim to identify and examine the specific textual components and storytelling techniques  employed in these films that contribute to their effectiveness in inspiring change. Our investigation focuses<br />on elucidating the narrative techniques, visual storytelling elements, and persuasive strategies utilized in the  documentaries. By investigating these aspects, we seek to provide valuable insights and practical recommendations for filmmakers to create compelling and emotionally impactful films that can effectively  promote social change.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4f22bcf4f14d857c567ee38c2feaa97e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":105792080,"asset_id":106788096,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/105792080/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106788096"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106788096"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106788096; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=106788096]").text(description); $(".js-view-count[data-work-id=106788096]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 106788096; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='106788096']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4f22bcf4f14d857c567ee38c2feaa97e" } } $('.js-work-strip[data-work-id=106788096]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":106788096,"title":"Effective Storytelling Techniques in Environmental Documentaries to Promote Lasting Social Change: An Analysis of \"Blackfish\" and \"An Inconvenient Truth\"","internal_url":"https://www.academia.edu/106788096/Effective_Storytelling_Techniques_in_Environmental_Documentaries_to_Promote_Lasting_Social_Change_An_Analysis_of_Blackfish_and_An_Inconvenient_Truth_","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[{"id":105792080,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/105792080/thumbnails/1.jpg","file_name":"Documentary_Environmental_paper.pdf","download_url":"https://www.academia.edu/attachments/105792080/download_file","bulk_download_file_name":"Effective_Storytelling_Techniques_in_Env.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/105792080/Documentary_Environmental_paper-libre.pdf?1695032617=\u0026response-content-disposition=attachment%3B+filename%3DEffective_Storytelling_Techniques_in_Env.pdf\u0026Expires=1739830922\u0026Signature=QeumfG3gdJpmhhtkHoxKVY54ynETgbgGxqvX0TWuwGJXX2O95adnAyC8NTWc11FKSGoPgnKngHjrbk6X-hR8~BtVQOQWhJ07bEBk1WqGchdkJeDi00EzDCgLAz60~zjQdDqEWI2mkCEgrhyRl0SogRxH9vrM0f4QKicLoLw0PBXO5fqnrQ1Bduuh8LDdq6zJwjPESLXRmLIdkYwt0RPc-NrQzCynlo4iSd0YHQFfQwNPCufRUs-aM7ZbQosO~9Yzfd8HLT0lIowvd2Yoy32ookZoS0LBHxqQiDFnNaC-G77exdlQ5swwCl-MouKjEo9IbMqKnXVRm147m1BnK5ABug__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="106787695"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/106787695/Progressing_but_also_degrading_the_representation_of_environmental_destruction_and_life_in_the_future_in_WALL_E"><img alt="Research paper thumbnail of Progressing but also degrading: the representation of environmental destruction and life in the future in WALL-E" class="work-thumbnail" src="https://attachments.academia-assets.com/105791906/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/106787695/Progressing_but_also_degrading_the_representation_of_environmental_destruction_and_life_in_the_future_in_WALL_E">Progressing but also degrading: the representation of environmental destruction and life in the future in WALL-E</a></div><div class="wp-workCard_item"><span>E3S Web of Conferences 426, 02132 (2023) </span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The sophisticated technology-such as AI, robots, and other automation machines-can be a double-ed...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The sophisticated technology-such as AI, robots, and other automation machines-can be a double-edged dagger. On the one hand, they can help humans and humanity to have a better and easier life. On the other hand, they can lead to environmental problems-from plastic and electronic waste to obesityand, finally: Environmental destruction. In addition, a movie, including an animated film, can be a valuable and powerful vehicle as an educational tool to raise awareness of environmental issues as it can represent the negative effect of technology on the environment if people do not consider overcoming the ecological problems and maintaining biospheric harmony. This research will focus on the movie WALL-E (Andrew Stanton, 2008) and how it represents environmental damage and future life. By closely reading the film, the authors will analyse the struggle of life in the near future when the Earth is heavily polluted and full of trash and their attempt to return to sustainable well-being.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0e695a6ac5c00d480c7471674e34197a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":105791906,"asset_id":106787695,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/105791906/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106787695"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106787695"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106787695; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=106787695]").text(description); $(".js-view-count[data-work-id=106787695]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 106787695; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='106787695']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0e695a6ac5c00d480c7471674e34197a" } } $('.js-work-strip[data-work-id=106787695]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":106787695,"title":"Progressing but also degrading: the representation of environmental destruction and life in the future in WALL-E","internal_url":"https://www.academia.edu/106787695/Progressing_but_also_degrading_the_representation_of_environmental_destruction_and_life_in_the_future_in_WALL_E","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[{"id":105791906,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/105791906/thumbnails/1.jpg","file_name":"Wall_E_paper.pdf","download_url":"https://www.academia.edu/attachments/105791906/download_file","bulk_download_file_name":"Progressing_but_also_degrading_the_repre.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/105791906/Wall_E_paper-libre.pdf?1695040811=\u0026response-content-disposition=attachment%3B+filename%3DProgressing_but_also_degrading_the_repre.pdf\u0026Expires=1739830922\u0026Signature=HtNR7VY2oHPbPDL83arbtKyhTHshpd5mge1sGbzLcP0BsC6-CTUhn69TroujPpVc1jWKoYVpYAmvgs5FEoJunSDG5qMl2v2J7zz3~KSJoUmamxIoYNgIZXojoDaCQc3P2edvscX6NdE9AV7VWIvMiPRXvOs2n2WyILFlk6e97jIlCChrBpIYma~bgiTVVTx3wFJbDqkClTMleGeUgYv1srd0SAxOXrppn3gL8ShnZtMNWNZySH1BU0C-LYJB3LR7Zyc6sxbBrDJvC7tn0L0wZm9l0izd0yzffi20XxRjYcbMTr3gir9kxy-gDjmHZ89uYwhw7LK-pnfbM6fBZlneDQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="102571161"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/102571161/Representation_of_Radical_Environmentalism_in_Pom_Poko_and_First_Reformed"><img alt="Research paper thumbnail of Representation of Radical Environmentalism in Pom Poko and First Reformed" class="work-thumbnail" src="https://attachments.academia-assets.com/102807213/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/102571161/Representation_of_Radical_Environmentalism_in_Pom_Poko_and_First_Reformed">Representation of Radical Environmentalism in Pom Poko and First Reformed</a></div><div class="wp-workCard_item"><span>E3S Web of Conferences</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the age of social media and streaming platforms, the visuality of an idea has become much more...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the age of social media and streaming platforms, the visuality of an idea has become much more important than before, including in the space of environmental activism. The representation of an ecoactivism idea campaigning for climate change, including the more radical practice of those activisms, is now communicated mainly not with written words but through the audio-visual medium of film or vlog to the audience. In the realm of cinema, films are worth analyzing regarding their representation of radical environmental activism Pom Poko (1994) directed by Isao Takahata, and First Reformed (2017) by Paul Schrader, because of their originality and nuanced representation of radical environmental activism. Through these films, we can see not only the surface representation of radical environmentalism but also the philosophy and reason behind it that usually has been overlooked. The authors chose both films to highlight that radical environmentalists&#39; ideology and actions have been ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6ac45d404f572d32d34a745ee1febde9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102807213,"asset_id":102571161,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102807213/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102571161"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102571161"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102571161; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=102571161]").text(description); $(".js-view-count[data-work-id=102571161]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 102571161; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='102571161']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6ac45d404f572d32d34a745ee1febde9" } } $('.js-work-strip[data-work-id=102571161]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":102571161,"title":"Representation of Radical Environmentalism in Pom Poko and First Reformed","internal_url":"https://www.academia.edu/102571161/Representation_of_Radical_Environmentalism_in_Pom_Poko_and_First_Reformed","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[{"id":102807213,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/102807213/thumbnails/1.jpg","file_name":"pdf.pdf","download_url":"https://www.academia.edu/attachments/102807213/download_file","bulk_download_file_name":"Representation_of_Radical_Environmentali.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/102807213/pdf-libre.pdf?1685433723=\u0026response-content-disposition=attachment%3B+filename%3DRepresentation_of_Radical_Environmentali.pdf\u0026Expires=1739830922\u0026Signature=DiiRhUEAOLKIvkvO1iD9DvTmVWI~cO95gaKe4JnPpMqgR~LyQxNywQ2qz2t-oaSvHJlZRqo2XpYrS2zdwUz-uOr2nrQtG-5HVVvmkh9ZpvMAomn4wC1a38oVFj-iGg4uDzM35l1jYo~vgDfjmmVfKku~c6mc2uDxDLCWl8jkFlwmpYGYBqwizZWFBVGXYcELXtaviv5atEw4HtqFtexwl2aKdQJaPQd1U82lIaCWt34~7sI69X3HjAGFlGLUCYr1Bo0hgCGTn1eeFIIGEHMJpPlUkqzQ2o9PmHkuTpllftaHXUjdE3IIn5X8ZxLuc~uRXK9lSGymZQhTWv8zraGcgg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="102571160"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/102571160/The_Revolution_of_Female_Characters_in_Disney_Films"><img alt="Research paper thumbnail of The Revolution of Female Characters in Disney Films" class="work-thumbnail" src="https://attachments.academia-assets.com/102807263/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/102571160/The_Revolution_of_Female_Characters_in_Disney_Films">The Revolution of Female Characters in Disney Films</a></div><div class="wp-workCard_item"><span>Proceedings of the International Conference on Industrial Engineering and Operations Management</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disney characters always lead to gender development. Like a Disney princess who always depends on...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disney characters always lead to gender development. Like a Disney princess who always depends on her prince to save her life. But now, the pattern is experiencing changes that occur in female characters. Women  are no longer in a passive position, but they begin to develop to be strong, challenging, and independent. <br />Through this paper, researchers will discuss several phases of the transition of female characters in Disney film production. By focusing on research questions, namely, how the nature of Disney women experiences a  shift as a form of gender equality? To answer this question, researchers will use qualitative research methods  that emphasize the depth of research and the results of the Disney film analysis.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="590ab397ca100cd2eac01788810ae706" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102807263,"asset_id":102571160,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102807263/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102571160"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102571160"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102571160; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="102571159"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/102571159/To_Shoot_or_Not_To_Shoot_Health_protocols_in_Indonesian_Film_Industry_Thriving_Sustainable_Business_during_Pandemic"><img alt="Research paper thumbnail of To Shoot or Not To Shoot: Health protocols in Indonesian Film Industry Thriving Sustainable Business during Pandemic" class="work-thumbnail" src="https://attachments.academia-assets.com/102807259/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/102571159/To_Shoot_or_Not_To_Shoot_Health_protocols_in_Indonesian_Film_Industry_Thriving_Sustainable_Business_during_Pandemic">To Shoot or Not To Shoot: Health protocols in Indonesian Film Industry Thriving Sustainable Business during Pandemic</a></div><div class="wp-workCard_item"><span>Proceedings of the International Conference on Industrial Engineering and Operations Management</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Globally, the film industry decreased significantly due to COVID-19, starting in March 2020. Phys...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Globally, the film industry decreased significantly due to COVID-19, starting in March 2020. Physical distancing, lockdown protocols, and other restricted regulations were applied. Vaccines were just founded and were not massively distributed. At that time, no official health protocols nor standard operating procedures regarding film production and movie theaters were applied in the &amp;quot;New Normal.&amp;quot;The filmmaking businesses were threatened since film productions were restricted and movie theaters were closed down. The big dilemma occurred: which one was the priority: the safety of the crews and talents or the sustainability of national film industry? However, in 2021 there were some signs of progress. It started with Makmum 2 (December 2021), which obtained more than one million viewers. It is followed by Ku Kira Kau Rumah (February 2022) and KKN Desa Penari (April 2022), which reached 2,2 million and 3 million viewers, respectively. In prestigious film festivals, the movies such as Seperti Dendam, Rindu Harus Dibayar Tuntas, and Yuni won as the best pictures at Locarno Film Festival (August 2021) and Toronto Film Festival (September 2021), respectively. Many films showed cases in Festival Film Indonesia (December 2021). These have shown that the Indonesian film industry is becoming better commercially and critically. The paper investigates how the Indonesian filmmakers tried to adjust to the New Normal era from both creative works and business strategy perspectives. In particular, the authors will do the mapping on the best practices of health protocols applied in film production.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="057a323ab01949eb4207994b30c1185a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102807259,"asset_id":102571159,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102807259/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102571159"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102571159"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102571159; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="102571158"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/102571158/Transforming_Indonesia_Chinese_descendants_in_Indonesia_s_cultural_features_into_modern_product_design_A_case_study_of_a_cross_cultural_product_design_model"><img alt="Research paper thumbnail of Transforming Indonesia Chinese descendants in Indonesia’s cultural features into modern product design: A case study of a cross-cultural product design model" class="work-thumbnail" src="https://attachments.academia-assets.com/102807969/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/102571158/Transforming_Indonesia_Chinese_descendants_in_Indonesia_s_cultural_features_into_modern_product_design_A_case_study_of_a_cross_cultural_product_design_model">Transforming Indonesia Chinese descendants in Indonesia’s cultural features into modern product design: A case study of a cross-cultural product design model</a></div><div class="wp-workCard_item"><span>Proceedings of the International Conference on Industrial Engineering and Operations Management</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Indonesia is rich in cultural diversity and traditions. Indonesia's unexpected cultural wealth r...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Indonesia is rich in cultural diversity and traditions. Indonesia's  unexpected cultural wealth ranges from tradition, art, tourism, and culinary. Indonesia is a country rich in culture. The relationship between Indonesian culture and Indonesian Peranakan culture is also very close. The arrival of the Chinese from mainland China to Indonesia around the 14th or 15th century AD settled and married the locals, combining the socio-cultural and culinary diversity of the two nations. The culture born due to intercultural marriage is Indo-Chinese or Peranakan culture. This intangible heritage needs to be protected and preserved. Digital transformation in the manufacturing sector plays an essential role in the era of the industrial revolution 4.0. In 2018 the President of the Republic of Indonesia, Joko Widodo, launched a road map of Making Indonesia 4.0 with the aspiration to make Indonesia into the top 10 of the world economy by 2030. At the same time, Indonesia's s cultural and creative industries have developed, which play a significant role in promoting development. Indonesian economy. Indonesia supports creative innovation by deepening the concept that the cultural and creative industries encourage economic development. This paper raises the design of the Peranakan culture model to increase awareness of the Peranakan culture that can be sold in Indonesian tour packages. This model is expected to be developed to promote crossbreed tourism in other regions.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8d12540d9d04ef6f6413a10ff1958c18" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102807969,"asset_id":102571158,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102807969/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102571158"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102571158"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102571158; 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dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8d12540d9d04ef6f6413a10ff1958c18" } } $('.js-work-strip[data-work-id=102571158]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":102571158,"title":"Transforming Indonesia Chinese descendants in Indonesia’s cultural features into modern product design: A case study of a cross-cultural product design model","internal_url":"https://www.academia.edu/102571158/Transforming_Indonesia_Chinese_descendants_in_Indonesia_s_cultural_features_into_modern_product_design_A_case_study_of_a_cross_cultural_product_design_model","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[{"id":102807969,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/102807969/thumbnails/1.jpg","file_name":"249.pdf","download_url":"https://www.academia.edu/attachments/102807969/download_file","bulk_download_file_name":"Transforming_Indonesia_Chinese_descendan.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/102807969/249-libre.pdf?1685433521=\u0026response-content-disposition=attachment%3B+filename%3DTransforming_Indonesia_Chinese_descendan.pdf\u0026Expires=1739830922\u0026Signature=YXdv~bSOdpd4WqBluPABiFzdcLOZFDkex9FsR45EgLD7e4vHdqPGcv0LaI5StVocbg~66CO7mUQyDb5zA5ps-a07OeSecL0H5VSmD9HYvJshx7SPwwNUAii~CyPk8kgzaDnlBppVd5ZEmY6oLDJHAtAI7b4XYfQMNNuipEe9F6EPi4~gl66vxQt6MomgHCOFnbTpxz9IVvvfjFgY-KtEoWgXnt56APzQHOtIdiXCAoT0cftl1A29UIdV9fp~6jJFqhygETzXa90sE87COaTRT~qdM6OgZtiW9OAyYhwiR42Mn51ZJnxHUYsLabQgur54TuPcgw2azdsLheprzi5J1g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="102571156"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/102571156/Islam_and_box_office_a_match_made_in_heaven"><img alt="Research paper thumbnail of Islam and box-office a match made in heaven" class="work-thumbnail" src="https://attachments.academia-assets.com/102807262/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/102571156/Islam_and_box_office_a_match_made_in_heaven">Islam and box-office a match made in heaven</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Islamic films have found a devoted market in Indonesia. Commercial success will prolong the trend...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Islamic films have found a devoted market in Indonesia. Commercial success will prolong the trend. Source: <a href="https://360info.org/islam-and-box-office-a-match-made-in-heaven/" rel="nofollow">https://360info.org/islam-and-box-office-a-match-made-in-heaven/</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="841d7ff78042fc3cc1b05555f16088d8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102807262,"asset_id":102571156,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102807262/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102571156"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102571156"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102571156; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="102571119"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/102571119/Environment_sustainability_animated_movies_and_anti_anthropocentric_approaches_Case_study_of_Tarzan"><img alt="Research paper thumbnail of Environment sustainability, animated movies, and anti-anthropocentric approaches: Case study of Tarzan" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/102571119/Environment_sustainability_animated_movies_and_anti_anthropocentric_approaches_Case_study_of_Tarzan">Environment sustainability, animated movies, and anti-anthropocentric approaches: Case study of Tarzan</a></div><div class="wp-workCard_item"><span>AIP Conference Proceedings</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Animated films can be read as entertainment and a vehicle to reveal social, cultural, and environ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Animated films can be read as entertainment and a vehicle to reveal social, cultural, and environmental issues. One of the ecological problems is the bias of anthropocentric perspectives, which exclude and underestimate non-human agents such as animals from the consideration of their policymaking and other significant actions. In this worldview, instead of treating NHA as part of stakeholders, humans think they can exploit NHA and the environment for their benefit. This approach would threaten biospheric harmony. In this paper, Tarzan (1999) will be analyzed to determine whether the movie has an anthropocentric perspective or the other way around or both. The film is ideal since there are at least two kinds of human representations within the story. The first one is Tarzan, the main character, nurtured by and has a strong relationship with nature and oblivious about modern civilization until he met England explorers when he became an adult. On the other hand, Clayton is a hunter scout who disrespected the jungle and its dwellers. Textual analysis will be applied. A close reading of the movie will be undertaken to answer the research questions.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102571119"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102571119"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102571119; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=102571119]").text(description); $(".js-view-count[data-work-id=102571119]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 102571119; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='102571119']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=102571119]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":102571119,"title":"Environment sustainability, animated movies, and anti-anthropocentric approaches: Case study of Tarzan","internal_url":"https://www.academia.edu/102571119/Environment_sustainability_animated_movies_and_anti_anthropocentric_approaches_Case_study_of_Tarzan","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="102570323"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/102570323/Representation_of_Radical_Environmentalism_in_Pom_Poko_and_First_Reformed_"><img alt="Research paper thumbnail of Representation of Radical Environmentalism in "Pom Poko" and "First Reformed"" class="work-thumbnail" src="https://attachments.academia-assets.com/102806636/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/102570323/Representation_of_Radical_Environmentalism_in_Pom_Poko_and_First_Reformed_">Representation of Radical Environmentalism in "Pom Poko" and "First Reformed"</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ubn.academia.edu/EkkyImanjaya">Ekky Imanjaya</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MuhammadAlvianDharmaNararya">Muhammad Alvian Dharma Nararya</a></span></div><div class="wp-workCard_item"><span>E3S Web of Conf. Volume 388, 2023</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the age of social media and streaming platforms, the visuality of an idea has become much more...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the age of social media and streaming platforms, the visuality of an idea has become much more important than before, including in the space of environmental activism. The representation of an ecoactivism idea campaigning for climate change, including the more radical practice of those activisms, is now communicated mainly not with written words but through the audio-visual medium of film or vlog to the audience. In the realm of cinema, films are worth analyzing regarding their representation of radical environmental activism Pom Poko (1994) directed by Isao Takahata, and First Reformed (2017) by Paul Schrader, because of their originality and nuanced representation of radical environmental activism. Through these films, we can see not only the surface representation of radical environmentalism but also the philosophy and reason behind it that usually has been overlooked. The authors chose both films to highlight that radical environmentalists' ideology and actions have been depicted relevantly since 1994 and continue in 2017 and beyond. Using hermeneutics reading of the text and Bordwell’s four levels of meanings, we found that the cinema, specifically fictional films, can be an effective tool to represent the nuanced idea of environmentalism and radical environmentalism as much as its documentary counterpart.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8712b0edb8be107d7378415dd10504bf" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102806636,"asset_id":102570323,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102806636/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102570323"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102570323"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102570323; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=102570323]").text(description); $(".js-view-count[data-work-id=102570323]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 102570323; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='102570323']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8712b0edb8be107d7378415dd10504bf" } } $('.js-work-strip[data-work-id=102570323]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":102570323,"title":"Representation of Radical Environmentalism in \"Pom Poko\" and \"First Reformed\"","internal_url":"https://www.academia.edu/102570323/Representation_of_Radical_Environmentalism_in_Pom_Poko_and_First_Reformed_","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[{"id":102806636,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/102806636/thumbnails/1.jpg","file_name":"paper_representation_pom_poko.pdf","download_url":"https://www.academia.edu/attachments/102806636/download_file","bulk_download_file_name":"Representation_of_Radical_Environmentali.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/102806636/paper_representation_pom_poko-libre.pdf?1685429458=\u0026response-content-disposition=attachment%3B+filename%3DRepresentation_of_Radical_Environmentali.pdf\u0026Expires=1739830922\u0026Signature=DpzIc~9seN5zMfM4Uu-Pcsrw2y1NLZZMcLI3fVaGUXg7zLGxC3KX9Z4tTB4euDzPegF4GlGgaBLm3bQ-xBUZbQw8KHDrZBz1VBhJMaPBEDADV9hp~WSGWc89uiOLoNCEBfKcrTAt~1NdYFN-gZ-n8clgbnbL5qCiF9tN4ZHgcAfVvylGODx8NcFI8iKJMvtEcRUxSHfK3BBwVgWLNss40Xz50aGgUEDGBXETmrGy-Jw3NXFC6kuODCUFRzLQJIbACFjI8I9-~p4oOLlLMNuMJEiBSp9OBYWfSrX0Rz9ifP9Z5PgJqeAU5gB5QygpVbAwW88IozKoahIQ08a5BVALwQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="100532900"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/100532900/Environment_sustainability_animated_movies_and_anti_anthropocentric_approaches_Case_study_of_Tarzan"><img alt="Research paper thumbnail of Environment sustainability, animated movies, and anti-anthropocentric approaches: Case study of Tarzan" class="work-thumbnail" src="https://attachments.academia-assets.com/101330109/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/100532900/Environment_sustainability_animated_movies_and_anti_anthropocentric_approaches_Case_study_of_Tarzan">Environment sustainability, animated movies, and anti-anthropocentric approaches: Case study of Tarzan</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ubn.academia.edu/EkkyImanjaya">Ekky Imanjaya</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/AdillaAmelia1">Adilla Amelia</a></span></div><div class="wp-workCard_item"><span>AIP Conference Proceedings 2594, 150013 </span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Animated films can be read as entertainment and a vehicle to reveal social, cultural, and environ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Animated films can be read as entertainment and a vehicle to reveal social, cultural, and environmental issues.<br />One of the ecological problems is the bias of anthropocentric perspectives, which exclude and underestimate non-human<br />agents such as animals from the consideration of their policymaking and other significant actions. In this worldview,<br />instead of treating NHA as part of stakeholders, humans think they can exploit NHA and the environment for their benefit.<br />This approach would threaten biospheric harmony. In this paper, Tarzan (1999) will be analyzed to determine whether the<br />movie has an anthropocentric perspective or the other way around or both. The film is ideal since there are at least two<br />kinds of human representations within the story. The first one is Tarzan, the main character, nurtured by and has a strong<br />relationship with nature and oblivious about modern civilization until he met England explorers when he became an adult.<br />On the other hand, Clayton is a hunter scout who disrespected the jungle and its dwellers. Textual analysis will be applied.<br />A close reading of the movie will be undertaken to answer the research questions.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f1b284bc676c8b1f71772b4191d031ba" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":101330109,"asset_id":100532900,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/101330109/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100532900"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100532900"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100532900; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100532900]").text(description); $(".js-view-count[data-work-id=100532900]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100532900; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100532900']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="99028290"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/99028290/The_Revolution_of_Female_Characters_in_Disney_Films"><img alt="Research paper thumbnail of The Revolution of Female Characters in Disney Films" class="work-thumbnail" src="https://attachments.academia-assets.com/100223129/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/99028290/The_Revolution_of_Female_Characters_in_Disney_Films">The Revolution of Female Characters in Disney Films</a></div><div class="wp-workCard_item"><span>Proceedings of the 3rd Asia Pacific International Conference on Industrial Engineering and Operations Management, Johor Bahru, Malaysia, September 13-15, 2022</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disney characters always lead to gender development. Like a Disney princess who always depends on...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disney characters always lead to gender development. Like a Disney princess who always depends on her prince to save her life. But now, the pattern is experiencing changes that occur in female characters. Women are no longer in a passive position, but they begin to develop to be strong, challenging, and independent. Through this paper, researchers will discuss several phases of the transition of female characters in Disney film production. By focusing on research questions, namely, how the nature of Disney women experiences a shift as a form of gender equality? To answer this question, researchers will use qualitative research methods that emphasize the depth of research and the results of the Disney film analysis.<br /><br />ISSN: 2169-8767 (U.S. Library of Congress)      <br />ISBN: 978-1-7923-9162-0 September 2022, Vol. 12 No. 6</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="eaaed487584ffcc69def31c6fbf5946e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":100223129,"asset_id":99028290,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/100223129/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="99028290"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="99028290"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 99028290; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="352659" id="papers"><div class="js-work-strip profile--work_container" data-work-id="125309203"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125309203/Wayang_Kulit_Show_Layar_Tancap_Traveling_Cinema_Show_and_History_of_Pre_Cinema"><img alt="Research paper thumbnail of Wayang Kulit Show, Layar Tancap (Traveling Cinema Show), and History of Pre-Cinema" class="work-thumbnail" src="https://attachments.academia-assets.com/119376705/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125309203/Wayang_Kulit_Show_Layar_Tancap_Traveling_Cinema_Show_and_History_of_Pre_Cinema">Wayang Kulit Show, Layar Tancap (Traveling Cinema Show), and History of Pre-Cinema</a></div><div class="wp-workCard_item"><span>Framing: Journal of Art, Film, Television, Animation, Games and Technology</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article will investigate that Javanese and Balinese Wayang Kulit Performance should be consi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article will investigate that Javanese and Balinese Wayang Kulit Performance should be considered a<br />legitimate "grandfather" of modern cinema—especially in the archaeology of projection and screen. The author<br />will apply Castle's Phantasmagoria and Manovich's Archaeology of the screen as the analysis tools. The paper<br />will also examine direct connections between Wayang Kulit Show and contemporary cinema, particularly Layar<br />tancap (traveling cinema), which emerged in the late 1890s in Southeast Asia Furthermore, finally, the paper will<br />investigate to what extent the tradition of the Wayang show and its apparatus has influenced some of Indonesia's<br />as well as Malaysia’s terms of modern cinema to Indonesia's Layar tancap (traveling cinema). This research is<br />in the same spirit as Thomas Elsaesser's proposal about the new way to reconstruct film history, moreover,<br />consider expanding the pre-history cinema to Indonesia's shadow puppetry and putting Layar tancap as part of the<br />global non-theatrical exhibition culture.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f126258e293067f689faed377175eedc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119376705,"asset_id":125309203,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119376705/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125309203"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125309203"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125309203; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125309094"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125309094/THE_PARADOXICAL_POLICIES_POLITICS_OF_TASTES_AND_CLASSIC_INDONESIAN_EXPLOITATION_CINEMA_OF_THE_NEW_ORDER_REGIME"><img alt="Research paper thumbnail of THE PARADOXICAL POLICIES, POLITICS OF TASTES, AND CLASSIC INDONESIAN EXPLOITATION CINEMA OF THE NEW ORDER REGIME" class="work-thumbnail" src="https://attachments.academia-assets.com/119376609/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125309094/THE_PARADOXICAL_POLICIES_POLITICS_OF_TASTES_AND_CLASSIC_INDONESIAN_EXPLOITATION_CINEMA_OF_THE_NEW_ORDER_REGIME">THE PARADOXICAL POLICIES, POLITICS OF TASTES, AND CLASSIC INDONESIAN EXPLOITATION CINEMA OF THE NEW ORDER REGIME</a></div><div class="wp-workCard_item"><span>Jurnal Wacana Politik</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated"> Although the New Order Regime (1966-1998) was widely known for its strict censorship and governm...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Although the New Order Regime (1966-1998) was widely known for its strict censorship and government<br />control, there was a simultaneous rise in producing exploitation films with graphic and provocative images. This kind of<br />cinema was exported internationally in the 1980s and re-released in the 2000s by transnational DVD distributors. This<br />article analyzed the transformation of exploitation films, which were disregarded and undervalued by the Government,<br />cultural elites, and cinema critics. It explored how these films became a battleground for the politics of taste and resulted in a<br />series of contradictions within the political policies of the New Order. The study focused on policy studies, examining film-<br />related policies (such as presidential decree and censorship regulations), and analyzed the findings by thoroughly examining<br />the regulations’ trends, patterns, and anomalies. As a result, paradoxically, the New Order had to undertake trial and error<br />towards the films that they were actually shunned, which resulted in the blooming of this kind of movie.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9be769b3706eef20c6f580352eb6826e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119376609,"asset_id":125309094,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119376609/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125309094"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125309094"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125309094; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125309094]").text(description); $(".js-view-count[data-work-id=125309094]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125309094; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125309094']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9be769b3706eef20c6f580352eb6826e" } } $('.js-work-strip[data-work-id=125309094]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125309094,"title":"THE PARADOXICAL POLICIES, POLITICS OF TASTES, AND CLASSIC INDONESIAN EXPLOITATION CINEMA OF THE NEW ORDER REGIME","internal_url":"https://www.academia.edu/125309094/THE_PARADOXICAL_POLICIES_POLITICS_OF_TASTES_AND_CLASSIC_INDONESIAN_EXPLOITATION_CINEMA_OF_THE_NEW_ORDER_REGIME","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[{"id":119376609,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/119376609/thumbnails/1.jpg","file_name":"THE_PARADOXICAL_POLICIES_POLITICS_OF_TASTES_AND_CLASSIC_INDONESIAN.pdf","download_url":"https://www.academia.edu/attachments/119376609/download_file","bulk_download_file_name":"THE_PARADOXICAL_POLICIES_POLITICS_OF_TAS.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/119376609/THE_PARADOXICAL_POLICIES_POLITICS_OF_TASTES_AND_CLASSIC_INDONESIAN-libre.pdf?1730821993=\u0026response-content-disposition=attachment%3B+filename%3DTHE_PARADOXICAL_POLICIES_POLITICS_OF_TAS.pdf\u0026Expires=1739830922\u0026Signature=G3DOUnow4axyiH2BsHOR5sai7Pvm2eGGc1lZUaC8RcjtIkDz3kW-uovHW2dWL1Ig6NRdOh9eRdXxsN8mssXCD2JukyAlxocIYaWPw8y8VTXgvMoBZFW5vGWFpyddiiJNBfCZJkEe3OhLX-MevjyPGUcy2ow8wZw3cDNCtK03oh38JEm4HN9-tvNJfnL5OKuXenCmB51hHkXh8Ex4FKNxHnceMJKfxcMz21jrslieQ2fQSNpq5-HmjJ-Y671jvKvLYdn~69aDpdUAgk6rZaQlDPb6CoRxHIijlBUMHIM~3OrNLa2HKo6-NjLA57mBRWr5P0gzeYQQQnu82xB-HoGMqg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125309037"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/125309037/Progressing_but_also_degrading_The_representation_of_environmental_destruction_and_life_in_the_future_in_i_WALL_E_i_"><img alt="Research paper thumbnail of Progressing but also degrading: The representation of environmental destruction and life in the future in <i>WALL-E</i>" class="work-thumbnail" src="https://attachments.academia-assets.com/119376593/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/125309037/Progressing_but_also_degrading_The_representation_of_environmental_destruction_and_life_in_the_future_in_i_WALL_E_i_">Progressing but also degrading: The representation of environmental destruction and life in the future in <i>WALL-E</i></a></div><div class="wp-workCard_item"><span>E3S web of conferences</span><span>, Dec 31, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The sophisticated technology-such as AI, robots, and other automation machines-can be a double-ed...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The sophisticated technology-such as AI, robots, and other automation machines-can be a double-edged dagger. On the one hand, they can help humans and humanity to have a better and easier life. On the other hand, they can lead to environmental problems-from plastic and electronic waste to obesityand, finally: Environmental destruction. In addition, a movie, including an animated film, can be a valuable and powerful vehicle as an educational tool to raise awareness of environmental issues as it can represent the negative effect of technology on the environment if people do not consider overcoming the ecological problems and maintaining biospheric harmony. This research will focus on the movie WALL-E (Andrew Stanton, 2008) and how it represents environmental damage and future life. By closely reading the film, the authors will analyse the struggle of life in the near future when the Earth is heavily polluted and full of trash and their attempt to return to sustainable well-being.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="95485dfcce31e4bb3555392728ef2ecc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119376593,"asset_id":125309037,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119376593/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125309037"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125309037"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125309037; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125309037]").text(description); $(".js-view-count[data-work-id=125309037]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125309037; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125309037']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125309036"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/125309036/Gender_Swap_Reboot_Film_Consumption_and_Social_Activism_in_Ghostbusters_2016_"><img alt="Research paper thumbnail of Gender Swap Reboot, Film Consumption and Social Activism in Ghostbusters (2016)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/125309036/Gender_Swap_Reboot_Film_Consumption_and_Social_Activism_in_Ghostbusters_2016_">Gender Swap Reboot, Film Consumption and Social Activism in Ghostbusters (2016)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this paper, the authors will try to better understand the phenomenon of gender swap film reboo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this paper, the authors will try to better understand the phenomenon of gender swap film reboots by offering insight into why gender swap films are made in the first place , their purpose, and the role they play in Hollywood regarding gender equality and diversity. Since most gender swap reboots are adaptations from well-known franchises, it could give a new perspective and dimension to the story by telling it from the viewpoint of different genders. We assume that gender swap reboots were made to diversify movie casts by having female actors replace male actors and normalize the idea that women can do the same things as men. To prove our hypothesis, we will use a literature review and Netnography. In our study, we discovered that a handful of internet personalities and fans alike reject the idea of Ghostbusters (2016) because it has a different image from those they knew, which we argue is due to the gender swap factor itself. On the other hand, social activism also interplayed with gender swap phenomenon.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125309036"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125309036"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125309036; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125309036]").text(description); $(".js-view-count[data-work-id=125309036]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125309036; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125309036']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=125309036]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125309036,"title":"Gender Swap Reboot, Film Consumption and Social Activism in Ghostbusters (2016)","internal_url":"https://www.academia.edu/125309036/Gender_Swap_Reboot_Film_Consumption_and_Social_Activism_in_Ghostbusters_2016_","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125309035"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/125309035/Transnational_Exploitation_Cinema_in_Southeast_Asia"><img alt="Research paper thumbnail of Transnational Exploitation Cinema in Southeast Asia" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/125309035/Transnational_Exploitation_Cinema_in_Southeast_Asia">Transnational Exploitation Cinema in Southeast Asia</a></div><div class="wp-workCard_item"><span>Amsterdam University Press eBooks</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Under authoritarian rule, Indonesia and the Philippines developed production systems to facilitat...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Under authoritarian rule, Indonesia and the Philippines developed production systems to facilitate the export of films to the global exploitation and B-grade markets. Framed by the colonial relationship with the United States, independent Filipino producers in the 1950s began working with mostly American partners on diverse low-cost titles. By the 1970s, the Philippines had become the choice location for many foreign co-productions. In Indonesia in the early 1980s, a group of local producers similarly pursued exploitation production for global export as a means to generate income. Production in both countries is framed by the Manila International Film Festivals (1982-1983), which marked Imelda Marcos’s attempt to formalize the co-production industry and make Southeast Asia a new hub for co-production and export.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125309035"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125309035"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125309035; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125309035]").text(description); $(".js-view-count[data-work-id=125309035]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125309035; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125309035']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=125309035]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125309035,"title":"Transnational Exploitation Cinema in Southeast Asia","internal_url":"https://www.academia.edu/125309035/Transnational_Exploitation_Cinema_in_Southeast_Asia","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="125309034"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/125309034/11_Transnational_Exploitation_Cinema_in_Southeast_Asia_The_Cases_of_Indonesia_and_the_Philippines"><img alt="Research paper thumbnail of 11. Transnational Exploitation Cinema in Southeast Asia. The Cases of Indonesia and the Philippines" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/125309034/11_Transnational_Exploitation_Cinema_in_Southeast_Asia_The_Cases_of_Indonesia_and_the_Philippines">11. Transnational Exploitation Cinema in Southeast Asia. The Cases of Indonesia and the Philippines</a></div><div class="wp-workCard_item"><span>Amsterdam University Press eBooks</span><span>, Dec 31, 2020</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125309034"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125309034"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125309034; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=125309034]").text(description); $(".js-view-count[data-work-id=125309034]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 125309034; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='125309034']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=125309034]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":125309034,"title":"11. Transnational Exploitation Cinema in Southeast Asia. The Cases of Indonesia and the Philippines","internal_url":"https://www.academia.edu/125309034/11_Transnational_Exploitation_Cinema_in_Southeast_Asia_The_Cases_of_Indonesia_and_the_Philippines","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="107488481"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/107488481/Documentary_Cinema_Plastic_Waste_Problem_and_Environmental_Sustainability_the_Case_of_Pulau_Plastik"><img alt="Research paper thumbnail of Documentary Cinema, Plastic Waste Problem, and Environmental Sustainability: the Case of Pulau Plastik" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/107488481/Documentary_Cinema_Plastic_Waste_Problem_and_Environmental_Sustainability_the_Case_of_Pulau_Plastik">Documentary Cinema, Plastic Waste Problem, and Environmental Sustainability: the Case of Pulau Plastik</a></div><div class="wp-workCard_item"><span>IOP Conference Series: Earth and Environmental Science</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Cinema, particularly documentary, can be a powerful vehicle for raising awareness of environmenta...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Cinema, particularly documentary, can be a powerful vehicle for raising awareness of environmental sustainability. In the paper, the documentary film Pulau Plastik (Dandhy Laksono and Rahung Nasution 2021) is the subject of analysis. The film has its premiere at the end of April 2021 in the cinema theatre in Jakarta, Yogyakarta, Surabaya and Denpasar and shows the plastic waste and its environmental damage. The documentary uses mise-en-scéne in its plot to evoke certain experience and emotion of the audience which we will examine its role and its psychological impact with the texts of the French philosopher Maurice Marleau-Ponty in the Philosophy of Embodiment, American experimental psychologist James Gibsons in Ecological Perception and American philosopher Sue Cataldi in Feelings, Depth and Flesh. The directors also use Cinéma Vérité Approach to strengthen the effect towards audience.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="107488481"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="107488481"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 107488481; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=107488481]").text(description); $(".js-view-count[data-work-id=107488481]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 107488481; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='107488481']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=107488481]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":107488481,"title":"Documentary Cinema, Plastic Waste Problem, and Environmental Sustainability: the Case of Pulau Plastik","internal_url":"https://www.academia.edu/107488481/Documentary_Cinema_Plastic_Waste_Problem_and_Environmental_Sustainability_the_Case_of_Pulau_Plastik","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="107488450"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/107488450/Three_ecological_monsters_in_Bong_Joon_Ho_s_films"><img alt="Research paper thumbnail of Three “ecological monsters” in Bong Joon-Ho’s films" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/107488450/Three_ecological_monsters_in_Bong_Joon_Ho_s_films">Three “ecological monsters” in Bong Joon-Ho’s films</a></div><div class="wp-workCard_item"><span>IOP Conference Series: Earth and Environmental Science</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">As Parasite wins four Oscar awards at 2019 Academy Awards, including Best Picture and Best Direct...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">As Parasite wins four Oscar awards at 2019 Academy Awards, including Best Picture and Best Director, more film scholars and critics pay more attention to the South Korean film industry, particularly to the film director, Bong Joon-Ho. Regarding biospheric harmony, the director depicts “ecological monsters” in his works, namely toxic chemical waste, Genetically Modified Organisms (GMOs) and cruelty towards animals, and the frozen earth caused by global warming. By having a close reading and textual analysis on The Host (2006), Snowpiercer (2013), and Okja (2016), the research will focus on those films directed by Bong Joon-Ho, which represent the horrific environmental issues. Particularly, the authors will investigate how the three films depict the discourses of ecological problems. The results show how strong messages regarding ecological issues are represented in the three films, metaphorically and literally and become valuable lessons for environmentalists and film scholars/filmm...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="107488450"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="107488450"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 107488450; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=107488450]").text(description); $(".js-view-count[data-work-id=107488450]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 107488450; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='107488450']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=107488450]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":107488450,"title":"Three “ecological monsters” in Bong Joon-Ho’s films","internal_url":"https://www.academia.edu/107488450/Three_ecological_monsters_in_Bong_Joon_Ho_s_films","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="106788379"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/106788379/Gender_Swap_Reboot_Film_Consumption_and_Social_Activism_in_Ghostbusters_2016"><img alt="Research paper thumbnail of Gender Swap Reboot, Film Consumption and Social Activism in Ghostbusters (2016" class="work-thumbnail" src="https://attachments.academia-assets.com/105792209/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/106788379/Gender_Swap_Reboot_Film_Consumption_and_Social_Activism_in_Ghostbusters_2016">Gender Swap Reboot, Film Consumption and Social Activism in Ghostbusters (2016</a></div><div class="wp-workCard_item"><span>2023 International Conference on Digital Applications, Transformation & Economy (ICDATE) (IEEE)</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this paper, the authors will try to better understand the phenomenon of gender swap film reboo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this paper, the authors will try to better understand the phenomenon of gender swap film reboots by offering insight into why gender swap films are made in the first place , their purpose, and the role they play in Hollywood regarding gender equality and diversity. Since most gender swap reboots are adaptations from well-known franchises, it could give a new perspective and dimension to the story by telling it from the viewpoint of different genders. We assume that gender swap reboots were made to diversify movie casts by having female actors replace male actors and normalize the idea that women can do the same things as men. To prove our hypothesis, we will use a literature review and Netnography. In our study, we discovered that a handful of internet personalities and fans alike reject the idea of Ghostbusters (2016) because it has a different image from those they knew, which we argue is due to the gender swap factor itself. On the other hand, social activism also interplayed with gender swap phenomenon.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a9e84d257d912a91346bcf2d80e51b07" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":105792209,"asset_id":106788379,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/105792209/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106788379"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106788379"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106788379; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=106788379]").text(description); $(".js-view-count[data-work-id=106788379]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 106788379; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='106788379']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="106788096"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/106788096/Effective_Storytelling_Techniques_in_Environmental_Documentaries_to_Promote_Lasting_Social_Change_An_Analysis_of_Blackfish_and_An_Inconvenient_Truth_"><img alt="Research paper thumbnail of Effective Storytelling Techniques in Environmental Documentaries to Promote Lasting Social Change: An Analysis of "Blackfish" and "An Inconvenient Truth"" class="work-thumbnail" src="https://attachments.academia-assets.com/105792080/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/106788096/Effective_Storytelling_Techniques_in_Environmental_Documentaries_to_Promote_Lasting_Social_Change_An_Analysis_of_Blackfish_and_An_Inconvenient_Truth_">Effective Storytelling Techniques in Environmental Documentaries to Promote Lasting Social Change: An Analysis of "Blackfish" and "An Inconvenient Truth"</a></div><div class="wp-workCard_item"><span>E3S Web of Conferences 426, 01103 (2023) </span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">by: Ephraim Ryan , Azwa Hanan, and Ekky Imanjaya In response to the pressing need to address cl...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">by: Ephraim Ryan , Azwa Hanan, and Ekky Imanjaya<br /><br /> In response to the pressing need to address climate change, there has been a growing interest in  utilizing documentaries as a powerful tool for raising awareness and fostering social change. This study  adopts a comprehensive approach to analyze two influential environmental documentaries, namely  Blackfish and An Inconvenient Truth. By employing a qualitative research methodology, specifically content<br />analysis, we aim to identify and examine the specific textual components and storytelling techniques  employed in these films that contribute to their effectiveness in inspiring change. Our investigation focuses<br />on elucidating the narrative techniques, visual storytelling elements, and persuasive strategies utilized in the  documentaries. By investigating these aspects, we seek to provide valuable insights and practical recommendations for filmmakers to create compelling and emotionally impactful films that can effectively  promote social change.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4f22bcf4f14d857c567ee38c2feaa97e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":105792080,"asset_id":106788096,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/105792080/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106788096"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106788096"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106788096; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=106788096]").text(description); $(".js-view-count[data-work-id=106788096]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 106788096; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='106788096']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4f22bcf4f14d857c567ee38c2feaa97e" } } $('.js-work-strip[data-work-id=106788096]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":106788096,"title":"Effective Storytelling Techniques in Environmental Documentaries to Promote Lasting Social Change: An Analysis of \"Blackfish\" and \"An Inconvenient Truth\"","internal_url":"https://www.academia.edu/106788096/Effective_Storytelling_Techniques_in_Environmental_Documentaries_to_Promote_Lasting_Social_Change_An_Analysis_of_Blackfish_and_An_Inconvenient_Truth_","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[{"id":105792080,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/105792080/thumbnails/1.jpg","file_name":"Documentary_Environmental_paper.pdf","download_url":"https://www.academia.edu/attachments/105792080/download_file","bulk_download_file_name":"Effective_Storytelling_Techniques_in_Env.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/105792080/Documentary_Environmental_paper-libre.pdf?1695032617=\u0026response-content-disposition=attachment%3B+filename%3DEffective_Storytelling_Techniques_in_Env.pdf\u0026Expires=1739830922\u0026Signature=QeumfG3gdJpmhhtkHoxKVY54ynETgbgGxqvX0TWuwGJXX2O95adnAyC8NTWc11FKSGoPgnKngHjrbk6X-hR8~BtVQOQWhJ07bEBk1WqGchdkJeDi00EzDCgLAz60~zjQdDqEWI2mkCEgrhyRl0SogRxH9vrM0f4QKicLoLw0PBXO5fqnrQ1Bduuh8LDdq6zJwjPESLXRmLIdkYwt0RPc-NrQzCynlo4iSd0YHQFfQwNPCufRUs-aM7ZbQosO~9Yzfd8HLT0lIowvd2Yoy32ookZoS0LBHxqQiDFnNaC-G77exdlQ5swwCl-MouKjEo9IbMqKnXVRm147m1BnK5ABug__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="106787695"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/106787695/Progressing_but_also_degrading_the_representation_of_environmental_destruction_and_life_in_the_future_in_WALL_E"><img alt="Research paper thumbnail of Progressing but also degrading: the representation of environmental destruction and life in the future in WALL-E" class="work-thumbnail" src="https://attachments.academia-assets.com/105791906/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/106787695/Progressing_but_also_degrading_the_representation_of_environmental_destruction_and_life_in_the_future_in_WALL_E">Progressing but also degrading: the representation of environmental destruction and life in the future in WALL-E</a></div><div class="wp-workCard_item"><span>E3S Web of Conferences 426, 02132 (2023) </span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The sophisticated technology-such as AI, robots, and other automation machines-can be a double-ed...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The sophisticated technology-such as AI, robots, and other automation machines-can be a double-edged dagger. On the one hand, they can help humans and humanity to have a better and easier life. On the other hand, they can lead to environmental problems-from plastic and electronic waste to obesityand, finally: Environmental destruction. In addition, a movie, including an animated film, can be a valuable and powerful vehicle as an educational tool to raise awareness of environmental issues as it can represent the negative effect of technology on the environment if people do not consider overcoming the ecological problems and maintaining biospheric harmony. This research will focus on the movie WALL-E (Andrew Stanton, 2008) and how it represents environmental damage and future life. By closely reading the film, the authors will analyse the struggle of life in the near future when the Earth is heavily polluted and full of trash and their attempt to return to sustainable well-being.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0e695a6ac5c00d480c7471674e34197a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":105791906,"asset_id":106787695,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/105791906/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="106787695"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="106787695"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 106787695; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=106787695]").text(description); $(".js-view-count[data-work-id=106787695]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 106787695; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='106787695']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="102571161"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/102571161/Representation_of_Radical_Environmentalism_in_Pom_Poko_and_First_Reformed"><img alt="Research paper thumbnail of Representation of Radical Environmentalism in Pom Poko and First Reformed" class="work-thumbnail" src="https://attachments.academia-assets.com/102807213/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/102571161/Representation_of_Radical_Environmentalism_in_Pom_Poko_and_First_Reformed">Representation of Radical Environmentalism in Pom Poko and First Reformed</a></div><div class="wp-workCard_item"><span>E3S Web of Conferences</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the age of social media and streaming platforms, the visuality of an idea has become much more...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the age of social media and streaming platforms, the visuality of an idea has become much more important than before, including in the space of environmental activism. The representation of an ecoactivism idea campaigning for climate change, including the more radical practice of those activisms, is now communicated mainly not with written words but through the audio-visual medium of film or vlog to the audience. In the realm of cinema, films are worth analyzing regarding their representation of radical environmental activism Pom Poko (1994) directed by Isao Takahata, and First Reformed (2017) by Paul Schrader, because of their originality and nuanced representation of radical environmental activism. Through these films, we can see not only the surface representation of radical environmentalism but also the philosophy and reason behind it that usually has been overlooked. The authors chose both films to highlight that radical environmentalists&#39; ideology and actions have been ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6ac45d404f572d32d34a745ee1febde9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102807213,"asset_id":102571161,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102807213/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102571161"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102571161"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102571161; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="102571160"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/102571160/The_Revolution_of_Female_Characters_in_Disney_Films"><img alt="Research paper thumbnail of The Revolution of Female Characters in Disney Films" class="work-thumbnail" src="https://attachments.academia-assets.com/102807263/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/102571160/The_Revolution_of_Female_Characters_in_Disney_Films">The Revolution of Female Characters in Disney Films</a></div><div class="wp-workCard_item"><span>Proceedings of the International Conference on Industrial Engineering and Operations Management</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disney characters always lead to gender development. Like a Disney princess who always depends on...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disney characters always lead to gender development. Like a Disney princess who always depends on her prince to save her life. But now, the pattern is experiencing changes that occur in female characters. Women  are no longer in a passive position, but they begin to develop to be strong, challenging, and independent. <br />Through this paper, researchers will discuss several phases of the transition of female characters in Disney film production. By focusing on research questions, namely, how the nature of Disney women experiences a  shift as a form of gender equality? To answer this question, researchers will use qualitative research methods  that emphasize the depth of research and the results of the Disney film analysis.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="590ab397ca100cd2eac01788810ae706" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102807263,"asset_id":102571160,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102807263/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102571160"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102571160"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102571160; 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dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "590ab397ca100cd2eac01788810ae706" } } $('.js-work-strip[data-work-id=102571160]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":102571160,"title":"The Revolution of Female Characters in Disney Films","internal_url":"https://www.academia.edu/102571160/The_Revolution_of_Female_Characters_in_Disney_Films","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[{"id":102807263,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/102807263/thumbnails/1.jpg","file_name":"paper_The_Revolution_of_Female_Characters_in_Disney_Films.pdf","download_url":"https://www.academia.edu/attachments/102807263/download_file","bulk_download_file_name":"The_Revolution_of_Female_Characters_in_D.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/102807263/paper_The_Revolution_of_Female_Characters_in_Disney_Films-libre.pdf?1685433710=\u0026response-content-disposition=attachment%3B+filename%3DThe_Revolution_of_Female_Characters_in_D.pdf\u0026Expires=1739830922\u0026Signature=NT7OzakrxFaCWTtbZ34sJc8akuW52glt9Hk25Z~WEoUG9ThnDcJRy3eJScxHGOcyrJDWmkbYh-et-EWoq1qfKQIHMD8NI3pOVgivaZIYfWpaTjoVd78KwBwlgaWmugXH3asm5adkxdlMhZtI3mJwL-jCrXaJX~eqAYlQnwqaRS106r4Q5HJBfAl7d~XozDvPZ--oJwC62w1bPT3JmMzS-oXGL9eRcRiuwaOT4ov7bmLCmD2mu~72KUrPZ0QAIn-qKuIO1pqoj1hpv43HISpN-6hqnlMzxEnyjfyYRsig7IrmzE3-iCDrRfDne~PQS26PGPUVsaU61Kwixs-FB7seHw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"},{"id":102807244,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/102807244/thumbnails/1.jpg","file_name":"661.pdf","download_url":"https://www.academia.edu/attachments/102807244/download_file","bulk_download_file_name":"The_Revolution_of_Female_Characters_in_D.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/102807244/661-libre.pdf?1685433710=\u0026response-content-disposition=attachment%3B+filename%3DThe_Revolution_of_Female_Characters_in_D.pdf\u0026Expires=1739830922\u0026Signature=cuofq3yUUT1JA-oOgf2KxNVNOm5YcUQgkql2Klu67k~6gD5Eu~t5VK0hrOvDVVNlQZcyZR~dPovQ36vAVstYZCIKaLkXm3KV2W2Rz-k5z4uFN0OxnZf9o5L8wz9FFZT86DbVewNITWDzSJkbL~iLCeoHO32Tj60Xaeyv912yaOGb4peclh1Nuuylogfq2CgvzgVjG8U6owKbbY-Nt32pJc92rzWuf2A8IKkfHi~0crIYxeP7kuebz32jEGEIBXphEA0SAaz8JHFs36~VigVZ2pEhhMTaWnDi1vMgsHNauOaeUmk~RYrXFXeLBkkZbQLTZm3Sly0GiFut5HOpHO~IQQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="102571159"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/102571159/To_Shoot_or_Not_To_Shoot_Health_protocols_in_Indonesian_Film_Industry_Thriving_Sustainable_Business_during_Pandemic"><img alt="Research paper thumbnail of To Shoot or Not To Shoot: Health protocols in Indonesian Film Industry Thriving Sustainable Business during Pandemic" class="work-thumbnail" src="https://attachments.academia-assets.com/102807259/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/102571159/To_Shoot_or_Not_To_Shoot_Health_protocols_in_Indonesian_Film_Industry_Thriving_Sustainable_Business_during_Pandemic">To Shoot or Not To Shoot: Health protocols in Indonesian Film Industry Thriving Sustainable Business during Pandemic</a></div><div class="wp-workCard_item"><span>Proceedings of the International Conference on Industrial Engineering and Operations Management</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Globally, the film industry decreased significantly due to COVID-19, starting in March 2020. Phys...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Globally, the film industry decreased significantly due to COVID-19, starting in March 2020. Physical distancing, lockdown protocols, and other restricted regulations were applied. Vaccines were just founded and were not massively distributed. At that time, no official health protocols nor standard operating procedures regarding film production and movie theaters were applied in the &amp;quot;New Normal.&amp;quot;The filmmaking businesses were threatened since film productions were restricted and movie theaters were closed down. The big dilemma occurred: which one was the priority: the safety of the crews and talents or the sustainability of national film industry? However, in 2021 there were some signs of progress. It started with Makmum 2 (December 2021), which obtained more than one million viewers. It is followed by Ku Kira Kau Rumah (February 2022) and KKN Desa Penari (April 2022), which reached 2,2 million and 3 million viewers, respectively. In prestigious film festivals, the movies such as Seperti Dendam, Rindu Harus Dibayar Tuntas, and Yuni won as the best pictures at Locarno Film Festival (August 2021) and Toronto Film Festival (September 2021), respectively. Many films showed cases in Festival Film Indonesia (December 2021). These have shown that the Indonesian film industry is becoming better commercially and critically. The paper investigates how the Indonesian filmmakers tried to adjust to the New Normal era from both creative works and business strategy perspectives. In particular, the authors will do the mapping on the best practices of health protocols applied in film production.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="057a323ab01949eb4207994b30c1185a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102807259,"asset_id":102571159,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102807259/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102571159"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102571159"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102571159; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=102571159]").text(description); $(".js-view-count[data-work-id=102571159]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 102571159; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='102571159']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "057a323ab01949eb4207994b30c1185a" } } $('.js-work-strip[data-work-id=102571159]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":102571159,"title":"To Shoot or Not To Shoot: Health protocols in Indonesian Film Industry Thriving Sustainable Business during Pandemic","internal_url":"https://www.academia.edu/102571159/To_Shoot_or_Not_To_Shoot_Health_protocols_in_Indonesian_Film_Industry_Thriving_Sustainable_Business_during_Pandemic","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[{"id":102807259,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/102807259/thumbnails/1.jpg","file_name":"paper_To_Shoot_or_Not_to_Shoot_Health_protocols_in_Indonesian.pdf","download_url":"https://www.academia.edu/attachments/102807259/download_file","bulk_download_file_name":"To_Shoot_or_Not_To_Shoot_Health_protocol.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/102807259/paper_To_Shoot_or_Not_to_Shoot_Health_protocols_in_Indonesian-libre.pdf?1685433714=\u0026response-content-disposition=attachment%3B+filename%3DTo_Shoot_or_Not_To_Shoot_Health_protocol.pdf\u0026Expires=1739830922\u0026Signature=B8kZSyuw1eXfyht8qAUhzdKyR0X-l21UCUtjcnCqp6chwToauLcwcjEkEIovkg-fRgbJf5QMnj~vt27npOTIuJEA5uqYQi9rw7x6HFNp~0TVM2X019obqOEcs2E6chcLp1R17yW1w9dpdToUmFQ5gYnP9xRpvX2ohPkxoMh0n9IXdPLn~BY5ADwsk1GeQYT5P9Msm04IGJNS-Zv9zsL04KhjhgeHCft0~7lSpCricfQaGyB0-UAgYEVLGgOTDvmEg~PitCNy83SvC8C~xqkS7RULHleTmZFICHxRsf6zFeznFkJDLxynZneQCtQfOgnf6Osi4-tTqplHqgAj7DlZqg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="102571158"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/102571158/Transforming_Indonesia_Chinese_descendants_in_Indonesia_s_cultural_features_into_modern_product_design_A_case_study_of_a_cross_cultural_product_design_model"><img alt="Research paper thumbnail of Transforming Indonesia Chinese descendants in Indonesia’s cultural features into modern product design: A case study of a cross-cultural product design model" class="work-thumbnail" src="https://attachments.academia-assets.com/102807969/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/102571158/Transforming_Indonesia_Chinese_descendants_in_Indonesia_s_cultural_features_into_modern_product_design_A_case_study_of_a_cross_cultural_product_design_model">Transforming Indonesia Chinese descendants in Indonesia’s cultural features into modern product design: A case study of a cross-cultural product design model</a></div><div class="wp-workCard_item"><span>Proceedings of the International Conference on Industrial Engineering and Operations Management</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Indonesia is rich in cultural diversity and traditions. Indonesia's unexpected cultural wealth r...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Indonesia is rich in cultural diversity and traditions. Indonesia's  unexpected cultural wealth ranges from tradition, art, tourism, and culinary. Indonesia is a country rich in culture. The relationship between Indonesian culture and Indonesian Peranakan culture is also very close. The arrival of the Chinese from mainland China to Indonesia around the 14th or 15th century AD settled and married the locals, combining the socio-cultural and culinary diversity of the two nations. The culture born due to intercultural marriage is Indo-Chinese or Peranakan culture. This intangible heritage needs to be protected and preserved. Digital transformation in the manufacturing sector plays an essential role in the era of the industrial revolution 4.0. In 2018 the President of the Republic of Indonesia, Joko Widodo, launched a road map of Making Indonesia 4.0 with the aspiration to make Indonesia into the top 10 of the world economy by 2030. At the same time, Indonesia's s cultural and creative industries have developed, which play a significant role in promoting development. Indonesian economy. Indonesia supports creative innovation by deepening the concept that the cultural and creative industries encourage economic development. This paper raises the design of the Peranakan culture model to increase awareness of the Peranakan culture that can be sold in Indonesian tour packages. This model is expected to be developed to promote crossbreed tourism in other regions.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8d12540d9d04ef6f6413a10ff1958c18" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102807969,"asset_id":102571158,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102807969/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102571158"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102571158"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102571158; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=102571158]").text(description); $(".js-view-count[data-work-id=102571158]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 102571158; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='102571158']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8d12540d9d04ef6f6413a10ff1958c18" } } $('.js-work-strip[data-work-id=102571158]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":102571158,"title":"Transforming Indonesia Chinese descendants in Indonesia’s cultural features into modern product design: A case study of a cross-cultural product design model","internal_url":"https://www.academia.edu/102571158/Transforming_Indonesia_Chinese_descendants_in_Indonesia_s_cultural_features_into_modern_product_design_A_case_study_of_a_cross_cultural_product_design_model","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[{"id":102807969,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/102807969/thumbnails/1.jpg","file_name":"249.pdf","download_url":"https://www.academia.edu/attachments/102807969/download_file","bulk_download_file_name":"Transforming_Indonesia_Chinese_descendan.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/102807969/249-libre.pdf?1685433521=\u0026response-content-disposition=attachment%3B+filename%3DTransforming_Indonesia_Chinese_descendan.pdf\u0026Expires=1739830922\u0026Signature=YXdv~bSOdpd4WqBluPABiFzdcLOZFDkex9FsR45EgLD7e4vHdqPGcv0LaI5StVocbg~66CO7mUQyDb5zA5ps-a07OeSecL0H5VSmD9HYvJshx7SPwwNUAii~CyPk8kgzaDnlBppVd5ZEmY6oLDJHAtAI7b4XYfQMNNuipEe9F6EPi4~gl66vxQt6MomgHCOFnbTpxz9IVvvfjFgY-KtEoWgXnt56APzQHOtIdiXCAoT0cftl1A29UIdV9fp~6jJFqhygETzXa90sE87COaTRT~qdM6OgZtiW9OAyYhwiR42Mn51ZJnxHUYsLabQgur54TuPcgw2azdsLheprzi5J1g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="102571156"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/102571156/Islam_and_box_office_a_match_made_in_heaven"><img alt="Research paper thumbnail of Islam and box-office a match made in heaven" class="work-thumbnail" src="https://attachments.academia-assets.com/102807262/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/102571156/Islam_and_box_office_a_match_made_in_heaven">Islam and box-office a match made in heaven</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Islamic films have found a devoted market in Indonesia. Commercial success will prolong the trend...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Islamic films have found a devoted market in Indonesia. Commercial success will prolong the trend. Source: <a href="https://360info.org/islam-and-box-office-a-match-made-in-heaven/" rel="nofollow">https://360info.org/islam-and-box-office-a-match-made-in-heaven/</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="841d7ff78042fc3cc1b05555f16088d8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102807262,"asset_id":102571156,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102807262/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102571156"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102571156"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102571156; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=102571156]").text(description); $(".js-view-count[data-work-id=102571156]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 102571156; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='102571156']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "841d7ff78042fc3cc1b05555f16088d8" } } $('.js-work-strip[data-work-id=102571156]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":102571156,"title":"Islam and box-office a match made in heaven","internal_url":"https://www.academia.edu/102571156/Islam_and_box_office_a_match_made_in_heaven","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[{"id":102807262,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/102807262/thumbnails/1.jpg","file_name":"Islam_and_box_office_a_match_made_in_heaven_360.pdf","download_url":"https://www.academia.edu/attachments/102807262/download_file","bulk_download_file_name":"Islam_and_box_office_a_match_made_in_hea.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/102807262/Islam_and_box_office_a_match_made_in_heaven_360-libre.pdf?1685433709=\u0026response-content-disposition=attachment%3B+filename%3DIslam_and_box_office_a_match_made_in_hea.pdf\u0026Expires=1739830922\u0026Signature=P79kgZnd1t1RB0EOYJRB0hugBE1f9a~7la1p2k4FrSuUzeY4JQ-J4o0Y1Y5TyAf3sV3b4TYid73a5FlR885Fo2O6kDYPsN9KqJY807D3~pC9stLUEcnJGAPGICn~Bf2cqFeZM~YmuJTnVgfc5roM8GXYZZATruJsvxn9Jwf1CAXXe7bUTlE~nHJ3MrrCyPOtVE9EngWBwOqAZAx1otoO8Zx4pYq2Kt0cKHPiZDzLeu3igzDM9uk09SpPjxkn9ZA~4hWu-ZjtK8uO08KnleTffpxi1EWQ0N3TPZaLFk-MDWH6K~9P~Y1mjnKA3H0IAq1hSLdD7QePvGtayRklWd6Sxg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="102571119"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/102571119/Environment_sustainability_animated_movies_and_anti_anthropocentric_approaches_Case_study_of_Tarzan"><img alt="Research paper thumbnail of Environment sustainability, animated movies, and anti-anthropocentric approaches: Case study of Tarzan" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/102571119/Environment_sustainability_animated_movies_and_anti_anthropocentric_approaches_Case_study_of_Tarzan">Environment sustainability, animated movies, and anti-anthropocentric approaches: Case study of Tarzan</a></div><div class="wp-workCard_item"><span>AIP Conference Proceedings</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Animated films can be read as entertainment and a vehicle to reveal social, cultural, and environ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Animated films can be read as entertainment and a vehicle to reveal social, cultural, and environmental issues. One of the ecological problems is the bias of anthropocentric perspectives, which exclude and underestimate non-human agents such as animals from the consideration of their policymaking and other significant actions. In this worldview, instead of treating NHA as part of stakeholders, humans think they can exploit NHA and the environment for their benefit. This approach would threaten biospheric harmony. In this paper, Tarzan (1999) will be analyzed to determine whether the movie has an anthropocentric perspective or the other way around or both. The film is ideal since there are at least two kinds of human representations within the story. The first one is Tarzan, the main character, nurtured by and has a strong relationship with nature and oblivious about modern civilization until he met England explorers when he became an adult. On the other hand, Clayton is a hunter scout who disrespected the jungle and its dwellers. Textual analysis will be applied. A close reading of the movie will be undertaken to answer the research questions.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102571119"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102571119"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102571119; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=102571119]").text(description); $(".js-view-count[data-work-id=102571119]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 102571119; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='102571119']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=102571119]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":102571119,"title":"Environment sustainability, animated movies, and anti-anthropocentric approaches: Case study of Tarzan","internal_url":"https://www.academia.edu/102571119/Environment_sustainability_animated_movies_and_anti_anthropocentric_approaches_Case_study_of_Tarzan","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="102570323"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/102570323/Representation_of_Radical_Environmentalism_in_Pom_Poko_and_First_Reformed_"><img alt="Research paper thumbnail of Representation of Radical Environmentalism in "Pom Poko" and "First Reformed"" class="work-thumbnail" src="https://attachments.academia-assets.com/102806636/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/102570323/Representation_of_Radical_Environmentalism_in_Pom_Poko_and_First_Reformed_">Representation of Radical Environmentalism in "Pom Poko" and "First Reformed"</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ubn.academia.edu/EkkyImanjaya">Ekky Imanjaya</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/MuhammadAlvianDharmaNararya">Muhammad Alvian Dharma Nararya</a></span></div><div class="wp-workCard_item"><span>E3S Web of Conf. Volume 388, 2023</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In the age of social media and streaming platforms, the visuality of an idea has become much more...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In the age of social media and streaming platforms, the visuality of an idea has become much more important than before, including in the space of environmental activism. The representation of an ecoactivism idea campaigning for climate change, including the more radical practice of those activisms, is now communicated mainly not with written words but through the audio-visual medium of film or vlog to the audience. In the realm of cinema, films are worth analyzing regarding their representation of radical environmental activism Pom Poko (1994) directed by Isao Takahata, and First Reformed (2017) by Paul Schrader, because of their originality and nuanced representation of radical environmental activism. Through these films, we can see not only the surface representation of radical environmentalism but also the philosophy and reason behind it that usually has been overlooked. The authors chose both films to highlight that radical environmentalists' ideology and actions have been depicted relevantly since 1994 and continue in 2017 and beyond. Using hermeneutics reading of the text and Bordwell’s four levels of meanings, we found that the cinema, specifically fictional films, can be an effective tool to represent the nuanced idea of environmentalism and radical environmentalism as much as its documentary counterpart.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8712b0edb8be107d7378415dd10504bf" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":102806636,"asset_id":102570323,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/102806636/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="102570323"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="102570323"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 102570323; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=102570323]").text(description); $(".js-view-count[data-work-id=102570323]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 102570323; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='102570323']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8712b0edb8be107d7378415dd10504bf" } } $('.js-work-strip[data-work-id=102570323]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":102570323,"title":"Representation of Radical Environmentalism in \"Pom Poko\" and \"First Reformed\"","internal_url":"https://www.academia.edu/102570323/Representation_of_Radical_Environmentalism_in_Pom_Poko_and_First_Reformed_","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[{"id":102806636,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/102806636/thumbnails/1.jpg","file_name":"paper_representation_pom_poko.pdf","download_url":"https://www.academia.edu/attachments/102806636/download_file","bulk_download_file_name":"Representation_of_Radical_Environmentali.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/102806636/paper_representation_pom_poko-libre.pdf?1685429458=\u0026response-content-disposition=attachment%3B+filename%3DRepresentation_of_Radical_Environmentali.pdf\u0026Expires=1739830922\u0026Signature=DpzIc~9seN5zMfM4Uu-Pcsrw2y1NLZZMcLI3fVaGUXg7zLGxC3KX9Z4tTB4euDzPegF4GlGgaBLm3bQ-xBUZbQw8KHDrZBz1VBhJMaPBEDADV9hp~WSGWc89uiOLoNCEBfKcrTAt~1NdYFN-gZ-n8clgbnbL5qCiF9tN4ZHgcAfVvylGODx8NcFI8iKJMvtEcRUxSHfK3BBwVgWLNss40Xz50aGgUEDGBXETmrGy-Jw3NXFC6kuODCUFRzLQJIbACFjI8I9-~p4oOLlLMNuMJEiBSp9OBYWfSrX0Rz9ifP9Z5PgJqeAU5gB5QygpVbAwW88IozKoahIQ08a5BVALwQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="100532900"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/100532900/Environment_sustainability_animated_movies_and_anti_anthropocentric_approaches_Case_study_of_Tarzan"><img alt="Research paper thumbnail of Environment sustainability, animated movies, and anti-anthropocentric approaches: Case study of Tarzan" class="work-thumbnail" src="https://attachments.academia-assets.com/101330109/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/100532900/Environment_sustainability_animated_movies_and_anti_anthropocentric_approaches_Case_study_of_Tarzan">Environment sustainability, animated movies, and anti-anthropocentric approaches: Case study of Tarzan</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ubn.academia.edu/EkkyImanjaya">Ekky Imanjaya</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/AdillaAmelia1">Adilla Amelia</a></span></div><div class="wp-workCard_item"><span>AIP Conference Proceedings 2594, 150013 </span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Animated films can be read as entertainment and a vehicle to reveal social, cultural, and environ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Animated films can be read as entertainment and a vehicle to reveal social, cultural, and environmental issues.<br />One of the ecological problems is the bias of anthropocentric perspectives, which exclude and underestimate non-human<br />agents such as animals from the consideration of their policymaking and other significant actions. In this worldview,<br />instead of treating NHA as part of stakeholders, humans think they can exploit NHA and the environment for their benefit.<br />This approach would threaten biospheric harmony. In this paper, Tarzan (1999) will be analyzed to determine whether the<br />movie has an anthropocentric perspective or the other way around or both. The film is ideal since there are at least two<br />kinds of human representations within the story. The first one is Tarzan, the main character, nurtured by and has a strong<br />relationship with nature and oblivious about modern civilization until he met England explorers when he became an adult.<br />On the other hand, Clayton is a hunter scout who disrespected the jungle and its dwellers. Textual analysis will be applied.<br />A close reading of the movie will be undertaken to answer the research questions.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f1b284bc676c8b1f71772b4191d031ba" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":101330109,"asset_id":100532900,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/101330109/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100532900"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100532900"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100532900; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=100532900]").text(description); $(".js-view-count[data-work-id=100532900]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 100532900; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='100532900']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f1b284bc676c8b1f71772b4191d031ba" } } $('.js-work-strip[data-work-id=100532900]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100532900,"title":"Environment sustainability, animated movies, and anti-anthropocentric approaches: Case study of Tarzan","internal_url":"https://www.academia.edu/100532900/Environment_sustainability_animated_movies_and_anti_anthropocentric_approaches_Case_study_of_Tarzan","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[{"id":101330109,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/101330109/thumbnails/1.jpg","file_name":"tarzan_paper.pdf","download_url":"https://www.academia.edu/attachments/101330109/download_file","bulk_download_file_name":"Environment_sustainability_animated_movi.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/101330109/tarzan_paper-libre.pdf?1682092194=\u0026response-content-disposition=attachment%3B+filename%3DEnvironment_sustainability_animated_movi.pdf\u0026Expires=1739830922\u0026Signature=FU4jcOW-E9I0snEj2-oXPNUSj6i4JYL-kk8cwyUmc46o3wE7yqYt1SlRWFyoXgVf7llw-FlSA1bmQcM-8NGvy45r8dHrTZLNGP-d23XjvlvsdMRBuWZroC6MpKD3Ik122u0pWIyKPrCx2SHm6pXwSAk2QAupxL0oiqLt2OaZJr8oWtKyx9qNs00E68EYKmPR3Xn7BlcmsGvLA3WKLFv2pGYTjtl4ZoEGkzv6o6a6lr5xsSOPHZpxyyRZr0XYMv55rRDima3iay6LlwAN3rjPQjSPTkq6RGWj~r1rSbMMGqOjvnwmqVjA-P~EGm7S3vtJODW-hOCjGiWEGlbsn8XKgg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="99028290"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/99028290/The_Revolution_of_Female_Characters_in_Disney_Films"><img alt="Research paper thumbnail of The Revolution of Female Characters in Disney Films" class="work-thumbnail" src="https://attachments.academia-assets.com/100223129/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/99028290/The_Revolution_of_Female_Characters_in_Disney_Films">The Revolution of Female Characters in Disney Films</a></div><div class="wp-workCard_item"><span>Proceedings of the 3rd Asia Pacific International Conference on Industrial Engineering and Operations Management, Johor Bahru, Malaysia, September 13-15, 2022</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Disney characters always lead to gender development. Like a Disney princess who always depends on...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Disney characters always lead to gender development. Like a Disney princess who always depends on her prince to save her life. But now, the pattern is experiencing changes that occur in female characters. Women are no longer in a passive position, but they begin to develop to be strong, challenging, and independent. Through this paper, researchers will discuss several phases of the transition of female characters in Disney film production. By focusing on research questions, namely, how the nature of Disney women experiences a shift as a form of gender equality? To answer this question, researchers will use qualitative research methods that emphasize the depth of research and the results of the Disney film analysis.<br /><br />ISSN: 2169-8767 (U.S. Library of Congress)      <br />ISBN: 978-1-7923-9162-0 September 2022, Vol. 12 No. 6</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="eaaed487584ffcc69def31c6fbf5946e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":100223129,"asset_id":99028290,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/100223129/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="99028290"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="99028290"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 99028290; 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Serta Pertemuan Seniman 1985 yang dipimpin Toety Heraty dan menghadirkan seniman seperti Abdurrahman Wahid,  Arifin C Noer, Djajakusuma, Mochtar Lubis, Teguh Karya, dll.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="45305364c78dfd605acee369542a6652" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":119376798,"asset_id":125309301,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/119376798/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="125309301"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="125309301"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 125309301; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="45588707"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/45588707/Mujahid_Film_Usmar_Ismail"><img alt="Research paper thumbnail of Mujahid Film: Usmar Ismail" class="work-thumbnail" src="https://attachments.academia-assets.com/66068006/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/45588707/Mujahid_Film_Usmar_Ismail">Mujahid Film: Usmar Ismail</a></div><div class="wp-workCard_item"><span>Kineforum-Storial</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Ekky Imanjaya's anthology of essays, academic papers, and popular writings on Usmar Ismail (Consi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Ekky Imanjaya's anthology of essays, academic papers, and popular writings on Usmar Ismail (Considered as the Father of Indonesian Cinema), launched as part of the celebration of the 100th Years of Usmar Ismail (20 March 1921-2021)<br /><br />Some articles are in Indonesian, some are in English.<br />Chapters: <br />Usmar Ismail: Sebuah Perkenalan <br />1. Introduction to Usmar Ismail <br />2. Sang Mujahid Seni Indonesia<br /><br />Ulasan Film <br />3. Tiga Menguak Usmar<br />4. Tukang Obat dan Kampanye Caleg di Sinema Kita, <br />5. Harimau Tjampa: Kelindan Pencak Silat dengan Islam <br /><br /><br />Lesbumi, Sensor, Politik<br />6. Sensor dalam Film<br />7. Lesbumi,  Dari  Jembatan Ulama-Seniman  <br /><br />Warisan, Restorasi, dan Transnasionalisme<br />8. Restoration of Lewat Djam Malam: The Importance, the Process, and the Obstacles<br />9. Two Orphan Films by Usmar Ismail  <br />10. Indonesia’s Three Sisters Movies, Cultural Importance, and the Legacy of Challenging the Society<br />11. Revisiting Italian Neorealism: Its influence toward Indonesia and Asian Cinema or There’s No Such Thing Like Pure Neorealist Films<br /><br /><br />It can be purchased on <br />(1) Shopee: <a href="https://shopee.co.id/Mujahid-Film-Usmar-Ismail-i.134996611.8029183334" rel="nofollow">https://shopee.co.id/Mujahid-Film-Usmar-Ismail-i.134996611.8029183334</a>  Rp 65.000,-  (pre-order, printed)<br />(2) Storial.co <a href="https://www.storial.co/book/mujahid-film-usmar-ismail" rel="nofollow">https://www.storial.co/book/mujahid-film-usmar-ismail</a> (e-book, full version  Rp 55.000,- can be purchased per articles) <br /><br />Or, simply type  “Usmar Ismail” at di Shopee.co.id  or  Storial.co <br /><br />#100TahunUsmarIsmail #BulanFilmNasional</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="435c93b0905a68d77003faf73ba53ea3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66068006,"asset_id":45588707,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66068006/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="45588707"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="45588707"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 45588707; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41490864"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41490864/Tilas_Kritik_Kumpulan_Tulisan_Rumah_Film_2007_2012"><img alt="Research paper thumbnail of Tilas Kritik: Kumpulan Tulisan Rumah Film 2007-2012" class="work-thumbnail" src="https://attachments.academia-assets.com/61661298/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41490864/Tilas_Kritik_Kumpulan_Tulisan_Rumah_Film_2007_2012">Tilas Kritik: Kumpulan Tulisan Rumah Film 2007-2012</a></div><div class="wp-workCard_item"><span>Komite Film Dewan Kesenian Jakarta</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Kumpulan esai, ulasan, laporan festival film, wawancara, dan trivia. Lebih dari 1600 halaman. Und...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Kumpulan esai, ulasan, laporan festival film, wawancara, dan trivia.<br />Lebih dari 1600 halaman.<br />Unduh gratis: <a href="https://drive.google.com/drive/folders/1YiMAx-fjtRZo02cUhJd0ygaZvPfJlAsA" rel="nofollow">https://drive.google.com/drive/folders/1YiMAx-fjtRZo02cUhJd0ygaZvPfJlAsA</a> <br /><br />Seri Wacana Sinema.<br />Penerbit:  Komite Film Dewan Kesenian Jakarta, 2019<br />Direktur Penerbitan : Hikmat Darmawan<br />Editor Seri : Ekky Imanjaya<br /><br />Editor:<br />Ekky Imanjaya<br />Hikmat Darmawan<br /><br />Rumah Film:<br />Asmayani Kusrini, Ekky Imanjaya, Eric Sasono, Hikmat Darmawan, Ifan Ismail, Krisnadi Yuliawan<br /><br />Kontributor:<br />Bobby Batara,  Donny Anggoro, Hassan Abdul Muthalib, Intan Paramaditha, Veronika Kusumaryati, Ade Irwansyah, Grace Samboh,  Homer Harianja, Windu Jusuf, <br /><br /> Penyelaras :  Ignatius Haryanto<br />Desain dan Tata Letak : Ardi Yunanto & Andang Kelana</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d21146de3754b0ae3ff8ab50471430b7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61661298,"asset_id":41490864,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61661298/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41490864"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41490864"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41490864; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41182512"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41182512/Mencari_Film_Madani_Sinema_dan_Dunia_Islam"><img alt="Research paper thumbnail of Mencari Film Madani: Sinema dan Dunia Islam" class="work-thumbnail" src="https://attachments.academia-assets.com/61422268/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41182512/Mencari_Film_Madani_Sinema_dan_Dunia_Islam">Mencari Film Madani: Sinema dan Dunia Islam</a></div><div class="wp-workCard_item"><span>Komite Film Dewan Kesenian Jakarta</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Mencari Film Madani: Sinema dan Dunia Islam merupakan kumpulan tulisan Ekky Imanjaya dengan tema ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Mencari Film Madani: Sinema dan Dunia Islam merupakan kumpulan tulisan Ekky Imanjaya dengan tema khusus tentang seluk-beluk “film Islam”. Ekky Imanjaya sejak awal 2000-an berkarier sebagai wartawan dan kritikus film, lalu menekuni studi film hingga meraih gelar master di Universitat van Amsterdam (Belanda) dan doctoral di University of East Anglia (Norwich, Inggris). Kumpulan ini menjadi unik sekaligus penting dalam konteks tumbuhnya genre film religious di dalam perfilman kita dari masa ke masa. Ekky menawarkan perspektif yang berpijak dari pengalamannya aktif di dunia dakwah semasa mudanya.<br /><br />Unduh e-book-nya: <a href="https://drive.google.com/drive/folders/1FRtP6s_YfFVx1ExyQoFW18K1NDq5qLus" rel="nofollow">https://drive.google.com/drive/folders/1FRtP6s_YfFVx1ExyQoFW18K1NDq5qLus</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="03df4afed65700f8ad40b5b868e2324f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61422268,"asset_id":41182512,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61422268/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41182512"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41182512"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41182512; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="33119861"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/33119861/Menjegal_Film_Indonesia_Pemetaan_Ekonomi_Politik_Industri_Film_Indonesia"><img alt="Research paper thumbnail of Menjegal Film Indonesia: Pemetaan Ekonomi Politik Industri Film Indonesia" class="work-thumbnail" src="https://attachments.academia-assets.com/53213540/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/33119861/Menjegal_Film_Indonesia_Pemetaan_Ekonomi_Politik_Industri_Film_Indonesia">Menjegal Film Indonesia: Pemetaan Ekonomi Politik Industri Film Indonesia</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ubn.academia.edu/EkkyImanjaya">Ekky Imanjaya</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/IfanIsmail3">Ifan Ismail</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Banyak orang tak percaya bahwa industri film Indonesia sudah ada. Belum ada infrastruktur, riset...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Banyak orang tak percaya bahwa industri film Indonesia<br />sudah ada. Belum ada  infrastruktur, riset dan pengembangan<br />dan berbagai lembaga  dalam perfilman kita layaknya<br />yang ada pada sebuah kegiatan  industri. Jika pun ada, bisa<br />dibilang bahwa industri film  Indonesia masih berupa industri<br />rumahan; sebuah industri  berskala kecil ke menengah dan<br />dikerjakan tanpa hubungan  kerja yang jelas.<br />Inilah sebuah tinjauan yang  mencoba melongok lebih jauh<br />ke tiga subsektor dalam industri  perfilman kita (jika ada) yaitu  subsektor produksi, distribusi  dan eksebisi. Tidak seluruh  aspek memang dijelajahi  mengingat luasnya subyek ini.  Namun apa yang tergambar di  buku ini bisa menjadi awal bagi sebuah tinjauah lebih dalam  untuk memahami film, yang tak hanya merupakan barang  hiburan, tapi juga merupakan barang publik yang bersentuhan  dengan orang banyak lewat  berbagai cara.<br />Diterbitkan oleh Penerbit: Perkumpulan Rumah Film Indonesia dan Yayasan TIFA, 2011</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="eb6310e8f7dd62b914df7a08be6c59ac" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":53213540,"asset_id":33119861,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/53213540/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="33119861"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="33119861"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33119861; 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This thesis focuses on the representation of social issues in the city of Jakarta, such as gender issues, poverty and the problems of urban life, as well as the physical landscape and mental landscape of Jakarta, and the connection between representation theory and realism approach in filmmaking.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="be9e864a5381bccefa21f470c24933b7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":30693205,"asset_id":2393513,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/30693205/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="2393513"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="2393513"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2393513; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="352939" id="thesischapters"><div class="js-work-strip profile--work_container" data-work-id="44210047"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44210047/Etika_dalam_alam_pikiran_Ali_Syariati"><img alt="Research paper thumbnail of Etika dalam alam pikiran Ali Syari'ati" class="work-thumbnail" src="https://attachments.academia-assets.com/64577608/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44210047/Etika_dalam_alam_pikiran_Ali_Syariati">Etika dalam alam pikiran Ali Syari'ati</a></div><div class="wp-workCard_item"><span>Tesis S2 di Jurusan Ilmu Filsafat, Fakultas Ilmu Budaya, Universitas Indonesia</span><span>, 2003</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">"Syari'ati tidak pernah menggagas pemikirannya tentang etika secara utuh dalam bentuk tulisan ata...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">"Syari'ati tidak pernah menggagas pemikirannya tentang etika secara utuh dalam bentuk tulisan atau ceramah. Tetapi berbagai kritiknya terhadap filsafat Barat, termasuk etika, secara implisit mengandung pemikirannya tentang etika. Beberapa pemikirannya, yang sebagian besar digunakan secara praksis untuk menggerakkan revolusi di Iran, juga mengandung sebuah implikasi tindakan etis tertentu. Pemikiran filosofisnya di bidang ontologi dan meteafisika sebenarnva juga mengandung ajarannya tentang etika. Bagaimana etika menurut Syari'ati? Bagi Syari'ati, manusia adalah makhluk dua dimensi, yaitu unsur Roh Tuhan dan Tanah Lumpur. Keduanya saling bertempur. Roh Tuhan ingin selalu menjadi insan (becoming) menuju Tuhan, yaitu ""berakhlak seperti Akhlak Tuhan"". Tetapi unsur`fanah Lumpur selalu menghalanginya. Pertempuran di dalam diri manusia ini selalu terjadi, dan jika Roh Tuhan menang, mala manusia menjadi ""manusia ideal"". Tanah Lumpur ini adalah penjara Ego, yaitu penjara psikologis yang menghalangi insan menuju Tuhan. Tuhan adalah tujuan akhir manuia, yang selalu berubah dan bergerak dinamis. Pada akhirnya, manusia tidak akan pernah menuju Tuhan, tetapi selalu menghampirinya. Proses terus menueru rnr menghasilkan tindakan moral (akhlak) yang menial tindakan moralk Tuhan. Intl dari etika Syari'ati adalah upaya humanisasi, yaitu menjadikan manusia menjadi ""manusia yang sesungguhnya"" (insan) Intl dari humanisasi ini adalah liberalisasi dan transendensi</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="308f0d303a941538a9c301a496d8b30d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64577608,"asset_id":44210047,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64577608/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44210047"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44210047"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44210047; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="2394876"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/2394876/Idealism_versus_Commercialism_in_Indonesian_Cinema_A_Neverending_Battle_1_"><img alt="Research paper thumbnail of Idealism versus Commercialism in Indonesian Cinema: A Neverending Battle?[1]" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/2394876/Idealism_versus_Commercialism_in_Indonesian_Cinema_A_Neverending_Battle_1_">Idealism versus Commercialism in Indonesian Cinema: A Neverending Battle?[1]</a></div><div class="wp-workCard_item"><span>www.rumahfilm.org</span><span>, Mar 17, 2009</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Historical approach on Indonesian film industry from 1926 to present.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="2394876"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="2394876"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2394876; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2394876]").text(description); $(".js-view-count[data-work-id=2394876]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2394876; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='2394876']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=2394876]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":2394876,"title":"Idealism versus Commercialism in Indonesian Cinema: A Neverending Battle?[1]","internal_url":"https://www.academia.edu/2394876/Idealism_versus_Commercialism_in_Indonesian_Cinema_A_Neverending_Battle_1_","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="383469" id="conferencepresentations"><div class="js-work-strip profile--work_container" data-work-id="43505904"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/43505904/Lisa_an_Anomalous_Pre_State_Ibuism_Film"><img alt="Research paper thumbnail of Lisa, an Anomalous Pre-State Ibuism Film" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/43505904/Lisa_an_Anomalous_Pre_State_Ibuism_Film">Lisa, an Anomalous Pre-State Ibuism Film</a></div><div class="wp-workCard_item"><span>“Women in Indonesian Film and Cinema”</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Video Presentation: https://kafein.or.id/en/history-panel/ Mainstream perspectives regarding ge...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Video Presentation: <a href="https://kafein.or.id/en/history-panel/" rel="nofollow">https://kafein.or.id/en/history-panel/</a> <br /><br />Mainstream perspectives regarding gender issues, both in popular and scholarly works, underline that generally films in Indonesian New Order (1966-1998) apply State Ibusim theories.  On and off-screen, women were marginalized and represented as weak, silent, negative, housewificationed, dan domestificationed. State Ibuism theory was coined by Julia Suryakusuma,  formulated based from PKK  program (Pembinaan Kesejahteraan Keluarga (Family Welfare Movement), “azas kekeluargaan” (Family Principle), amd    and Dharma Wanita (official organization for the wives of civil servants), which were officially issued  in 1978. The theory highlight the official attempt of domistification of Indonesian women during New Order era.<br />However, Lisa (M Syariefuddin A, 1971), produced 7 years before the programs, is anomalous one. I argue that the film can be read as the window opportunity for producing the progressive film culture.  I will answer how different the film with State Ibuism theory by undertaking textual analysis or a close reading of the film. And I will answer why it is different by undertaking New Cinema History approach and highlighting the paradoxes of New Order’s policies.<br /><br /><br />Presented at “Women in Indonesian Film and Cinema” Conference, July-August 2020,  An INTERNATIONAL VIRTUAL CONFERENCE, held by UNESCO, BPI, and  Kafein.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43505904"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43505904"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43505904; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43505904]").text(description); $(".js-view-count[data-work-id=43505904]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43505904; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='43505904']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=43505904]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":43505904,"title":"Lisa, an Anomalous Pre-State Ibuism Film","internal_url":"https://www.academia.edu/43505904/Lisa_an_Anomalous_Pre_State_Ibuism_Film","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36021810"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/36021810/Archive_led_Research_New_Film_History_and_Classic_Indonesian_Exploitation_Cinema"><img alt="Research paper thumbnail of Archive-led Research, New Film History, and Classic Indonesian Exploitation Cinema" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/36021810/Archive_led_Research_New_Film_History_and_Classic_Indonesian_Exploitation_Cinema">Archive-led Research, New Film History, and Classic Indonesian Exploitation Cinema</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">For years, textual analysis or ontological approaches is a common thing among scholars and cr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">For years,  textual analysis or ontological approaches is  a common  thing among scholars and critics in the context of  Indonesian cinema studies.  Currently, there is an emerging trend of research where more  scholars apply  phenomenological or sociological approaches to research Indonesian cinema. Within this approaches, extrinsic elements are investigated and archive-led research is inevitable.  In my case,  I analyzed many archives in order to argue that classic Indonesian exploitation films (originally produced and circulated between 1979 and 1995 under the dictatorship of New Order) are important and  the films became both the significant arenas  and the objects of politics of taste involving several agencies like the State and its cultural  elites, local film producers, local film distributors/exhibitors, local audiences, transnational distributors, and global fans.  <br />Therefore,  my research is in line with “New Cinema History”,  as Maltby puts it,  “to consider their circulation and consumption, and to examine the cinema as a site of social and cultural exchange” (Maltby, 2011, 1).  New Cinema History approaches undertake “empirical investigation and inquiry”, which is “analysis of primary sources relating to the production and reception of feature films” (Chapman, Glancy, Harper 2009, 1).  <br />Within this spirit, the film historians basically undertake historical investigation by analyzing primary sources, both filmic (the film itself), and nonfilmic (such as trade papers, publicity materials, reviews, and fans texts) (Chapman, Glancy, Harper 2007, 3).    <br />The paper will elaborate how and why I collected, selected, and analyzed original printed documents such as  magazines, newspapers, official documents (for instance,  ministerial and presidential decrees and film censorship policies), trade magazines (including in-house and internal magazines published by particular film organizations), and festival film catalogs and booklets.    I will focus on 3 institutions, namely  Sinematek Indonesia (Indonesia’s film archive), Perpustakaan Nasional Republik Indonesia (National Library of Indonesia) and  Perpustakaan Umum Pemerintah Daerah Jakarta (Public Library of Jakarta Province).  <br /> <br />‘Archives, Activism, Aesthetics in Southeast Asian Cinemas’ Symposium, Glasgow, 16-17 March 2018</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36021810"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36021810"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36021810; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36021810]").text(description); $(".js-view-count[data-work-id=36021810]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36021810; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36021810']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=36021810]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36021810,"title":"Archive-led Research, New Film History, and Classic Indonesian Exploitation Cinema","internal_url":"https://www.academia.edu/36021810/Archive_led_Research_New_Film_History_and_Classic_Indonesian_Exploitation_Cinema","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="27474800"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/27474800/The_Politics_of_Tastes_of_New_Order_s_Cultural_Elites"><img alt="Research paper thumbnail of The Politics of Tastes of New Order’s Cultural Elites" class="work-thumbnail" src="https://attachments.academia-assets.com/47731890/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/27474800/The_Politics_of_Tastes_of_New_Order_s_Cultural_Elites">The Politics of Tastes of New Order’s Cultural Elites</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">As non-state agents, cultural elites along with the government played important roles in cultural...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">As non-state agents, cultural elites along with the government played important roles in cultural history of Indonesia in New Order period (1966-1998). Krishna Sen overviews history of Indonesian Cinema in New Order in one sentence: “The New Order inherited a cinema that expressed a highly individualist and elitist approach to society” (Sen 1994, 94).  In the Indonesian context, culture elites are a group of prominent figures who share the same  ideology and mostly belong to nationalist wing who try to play a role as, In Toynbee’s term,<br />a group of “creative minority”. Krishna Sen describes them as “the tiny urban, educated, national political elites, which since independence had been bound by personal ties that bridged ‘conflict of interest’ and ideology” (Sen 1994, 27). The phenomenon can be read in<br />articles written by most prominent film critics, journalists, historians, and academia such as Asrul Sani (poet, cultural thinker, prominent writer, award-winning scriptwriter, director), Rosihan Anwar (senior journalist), Sumardjono (filmmaker), Misbach Jusa Biran (film historian, founder of Sinematek Indonesia, filmmaker), and Salim Said (film scholar). They<br />also played roles in some film institutions and organizations, such as Festival Film Indonesia, censorship board, National Film Council (Dewan Film Nasional). They wanted  to frame Indonesian film to fit in the concept of film nasional (national film), where the goals were to “search Indonesian faces on screen” (1978) and should be “with cultural and<br />educational purposes” (Film Kultural Edukatif, 1982-1983) (2010). <br />In this paper, I will  elaborate why and how Indonesian cultural elites in New Order era have tried to exclude  local exploitation films from the discourses of concept and official history of national  cinema and national film cultures, and tried to negotiate with various kinds of politics of  tastes. <br />By investigating archives such as film policies and media clippings, I will underline  the taste battle between the government and cultural elites and other stakeholders, namely  local film producers-distributors-exhibitors (including Layar Tancap/traveling cinema companies), and domestic mainstream audience, as well as international distributors.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a2528051604cbd82027d1af86a7ec0d1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":47731890,"asset_id":27474800,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/47731890/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="27474800"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="27474800"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 27474800; 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dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a2528051604cbd82027d1af86a7ec0d1" } } $('.js-work-strip[data-work-id=27474800]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":27474800,"title":"The Politics of Tastes of New Order’s Cultural Elites","internal_url":"https://www.academia.edu/27474800/The_Politics_of_Tastes_of_New_Order_s_Cultural_Elites","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[{"id":47731890,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/47731890/thumbnails/1.jpg","file_name":"file111654.pdf","download_url":"https://www.academia.edu/attachments/47731890/download_file","bulk_download_file_name":"The_Politics_of_Tastes_of_New_Order_s_Cu.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/47731890/file111654-libre.pdf?1470161545=\u0026response-content-disposition=attachment%3B+filename%3DThe_Politics_of_Tastes_of_New_Order_s_Cu.pdf\u0026Expires=1739830922\u0026Signature=AK4SEEb7iDYnIjTU5bzQkim9fVTXBXdl7lcWyFgorGCsTBVCECvXAhi5D9PBn8~TDiXudx0qLdRtsFeV-KFntq51qgVDg3UfLt69zDa-8pS6CbOtfAt9cRSZgMuHNCzcm8hriSqP5YAdhbinEq4SL2XPgVWXlmtzaw9DdOO3Qd29~LEMjI1j4izBBmYseS1yZotJ~Rruf~ICF1GtZRGLQRGN3gYx7jB2F8qIFRkwXFR3--S4XhVvmmWGIRBmHtLG3~eK~1C66Ajkr2eRA7gYh~PptuAlLuk6n~yXilASUtZ6MIp~5sjsIqM7-R6ni2l9J1-HBXbVJTSnwrk1JXgABQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"},{"id":47731889,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/47731889/thumbnails/1.jpg","file_name":"file111654.pdf","download_url":"https://www.academia.edu/attachments/47731889/download_file","bulk_download_file_name":"The_Politics_of_Tastes_of_New_Order_s_Cu.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/47731889/file111654-libre.pdf?1470161541=\u0026response-content-disposition=attachment%3B+filename%3DThe_Politics_of_Tastes_of_New_Order_s_Cu.pdf\u0026Expires=1739830922\u0026Signature=Nn-jHsczAKu6l-U9ZKEUihfqCASwcQD~rCZPjitw8gSo1JHvyKQX3Zh-jP~c3lcL7vDNQV4WCzCsRJU5UHa5HW~p3y6Hs3mn2phsST9pBto91GUL1z7HHbLthfNJVcEMnJ0tW2-fyRfq-N-40dXO5uOAEJU~dsxAvBy0yX7JIf65VUd2LYPK96NWNON9YOkgbzlhF4QBvJauqFfY8gs8AxV7E1wHkcEE9TXIzA4Q3UPpBIAKYSgy0kZl1FkM0sxnO3xIfWeLJ9BN9XH7ZoxaZnIU0vuQawrod1jRGnxDsllSmGBVwyTWXDPLGwB0IYbW2-Eh9jVdnRxyaGQFsY1DzA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17559189"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/17559189/The_significance_of_layar_tancap_pre_Perfiki_mobile_cinema_shows_in_the_New_Order_Era"><img alt="Research paper thumbnail of The significance of layar tancap: pre-Perfiki mobile cinema shows in the New Order Era" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/17559189/The_significance_of_layar_tancap_pre_Perfiki_mobile_cinema_shows_in_the_New_Order_Era">The significance of layar tancap: pre-Perfiki mobile cinema shows in the New Order Era</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Indonesia‟s New Order Government (1966-1998) was notorious for its state-control of every aspect...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Indonesia‟s New Order Government (1966-1998) was notorious for its state-control of  every aspect of life. In the film industry, the government applied sharp censorship and  controlled film production by controlling scripts and film bodies as well as distribution and  exhibition. This paper explores how the New Order and its policies valued and dealt with  the subcultures of Layar Tancap (open air cinema) and bioskop keliling (mobile cinema  shows)? According to Katinka van Heeren, Layar Tancap shows were off of the New Order‟s  radar until 1993, the year the government finally acknowledged and formalized Perfiki<br />(Persatuan Perusahaan Pertunjukan Film Keliling Indonesia, or the Union of Indonesian  Mobile Cinema Show). Both van Heeren and Krishna Sen, have argued that while its spectatorship is important to note, no specific official policies were applied and no data was collected by The Indonesian Statistical Bureau for this open air cinema. In short, layar<br />tancap was overlooked by the New Order government because the spectators were from  the lower and working classes. Drawing on the evidence of the New Order‟s film policies<br />as well as general and trade magazines, my research questions van Heeren‟s assertion. I will argue that Suharto‟s government tried to frame this kind of distribution and exhibition cultures long before 1993, precisely because the villagers were one of their important assets; they formed the large majority of Indonesian citizens. I will also discuss how the practice and consumption of layar tancap and the policies of New Order government  interact, negotiate, and influence each other.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17559189"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17559189"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17559189; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17559189]").text(description); $(".js-view-count[data-work-id=17559189]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17559189; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17559189']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=17559189]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17559189,"title":"The significance of layar tancap: pre-Perfiki mobile cinema shows in the New Order Era","internal_url":"https://www.academia.edu/17559189/The_significance_of_layar_tancap_pre_Perfiki_mobile_cinema_shows_in_the_New_Order_Era","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17559106"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/17559106/The_Real_Guilty_Pleasure_Lady_Terminator_Media_Reception_and_Public_Censorship_in_Indonesia"><img alt="Research paper thumbnail of The Real Guilty Pleasure”: Lady Terminator¸ Media Reception, and Public Censorship in Indonesia" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/17559106/The_Real_Guilty_Pleasure_Lady_Terminator_Media_Reception_and_Public_Censorship_in_Indonesia">The Real Guilty Pleasure”: Lady Terminator¸ Media Reception, and Public Censorship in Indonesia</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">After passing through the strict censorship board and 9 days of theatrical release, Pembalasan R...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">After passing through the strict censorship board and 9 days of theatrical release,  Pembalasan Ratu Laut Selatan (Tjut Djalil, 1988) or Lady Terminator was withdrawn from national distribution due to concerns over its sexual and violence scenes. Society blamed censorship board for being too soft,  and there were suggestions of  bribery. Threats were made to sue the board.  <br />The situation above is unique given the New Order regime’s (1966-1998) notorious state control of every aspect of life, including sharp censorship and control of film organizations. The government also framed movies to  “represent the true Indonesian cultures”, which meant excluding violence and erotic scenes from the screen.  On the other hand,  it was the public who took action in  opposing the film. <br />The film caused moral panics within the society because it was considered a  ‘threat to societal values and interests’ (Cohen, 1972, p.9) and challenged legitimate culture. By looking at the media reception in 1988, this paper will investigate the bigger context of Indonesia’s political and social situation regarding the withdrawal of the film and social anxiety surrounding it. In particular, I want to interrogate how various Politics of Tastes (government, culture elites, society, and film producers)  were contradicted  and negotiated through this case.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17559106"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17559106"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17559106; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17559106]").text(description); $(".js-view-count[data-work-id=17559106]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17559106; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17559106']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=17559106]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17559106,"title":"The Real Guilty Pleasure”: Lady Terminator¸ Media Reception, and Public Censorship in Indonesia","internal_url":"https://www.academia.edu/17559106/The_Real_Guilty_Pleasure_Lady_Terminator_Media_Reception_and_Public_Censorship_in_Indonesia","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17535110"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/17535110/The_Cult_of_Si_Unyil_From_Children_s_TV_Puppet_Show_to_Pop_Culture_Icon"><img alt="Research paper thumbnail of The Cult of Si Unyil: From Children’s TV Puppet Show to Pop Culture Icon" class="work-thumbnail" src="https://attachments.academia-assets.com/39564428/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/17535110/The_Cult_of_Si_Unyil_From_Children_s_TV_Puppet_Show_to_Pop_Culture_Icon">The Cult of Si Unyil: From Children’s TV Puppet Show to Pop Culture Icon</a></div><div class="wp-workCard_item"><span>Kid Culture: Thinking Differently About Children’s Media.</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">For Indonesians, particularly for Generation of the 1980s, it is commonly known that Si Unyil ,...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">For Indonesians,  particularly  for Generation of the 1980s, it is commonly known that Si Unyil , Indonesian  TV puppet show series,  is the most popular TV program in the 1980s (Kitley 153).  Since 1 April 1981,  every Sunday morning, from 1981 to  1993, most of the children in Indonesia sit in their own houses, or in neighbors’ houses and district offices, to watch the show on TV, and later memorize the songs, imitate the dialogs,  and discuss the stories.  It became a weekly ritual for kids (Imanda 2004, 51).<br /><br />The paper will interrogate why and how it has deep influence in pop culture.  If the reason is its cult status that made the phenomenon, to what extent can we consider Si Unyil as a cult TV program, considering Indonesia in the 1980s and 2010s have different kind of dynamics and characteristics that may be different from Western cult media and may not  be always compatible with mainstream Western cult theories ?  <br />I will investigate the connection between the TV program with its  cult status in relation with childhood nostalgia,  collective memory shared within The 1980s generation, and fans productivities</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a0d2acaf6d258c7171135329114c2859" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":39564428,"asset_id":17535110,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/39564428/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17535110"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17535110"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17535110; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17535110]").text(description); $(".js-view-count[data-work-id=17535110]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17535110; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17535110']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="9851793"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/9851793/The_Significance_of_Layar_Tancap_Film_Policies_and_Mobile_Cinema_Shows_in_Indonesia_s_New_Order_Era_1974_1993_"><img alt="Research paper thumbnail of The Significance of "Layar Tancap": Film Policies and Mobile Cinema Shows in Indonesia’s New Order Era (1974-1993)" class="work-thumbnail" src="https://attachments.academia-assets.com/36016788/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/9851793/The_Significance_of_Layar_Tancap_Film_Policies_and_Mobile_Cinema_Shows_in_Indonesia_s_New_Order_Era_1974_1993_">The Significance of "Layar Tancap": Film Policies and Mobile Cinema Shows in Indonesia’s New Order Era (1974-1993)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Indonesia’s New Order Government (1966-1998) is notorious with its state-control of every aspec...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Indonesia’s New Order Government (1966-1998)  is notorious with its state-control of every aspect of life.  In the film industry, the government applied sharp censorship and controlled film production by controlling the script and film bodies as well as distribution and exhibition.  (Sen 1992; Heider 1991, Jufry 1992, Said 1991). <br />How did New Order and its policies value and deal with the subculture of Layar Tancap (open air cinema) or bioskop keliling (mobile cinema shows)? According to Katinka van Heeren, Layar Tancap shows were out of New Order’s radar until 1993 (van Heeren 2012, 33), the year  the government finally acknowledged and formalized Perfiki (Persatuan Perusahaan Pertunjukan Film Keliling Indonesia, or the Union of Indonesian Mobile Cinema Show) <br /> <br />According to van Heeren and Krishna Sen, although its spectatorship is important to note, but no  specific official policies was applied ; and no  data was collected by The Indonesian Statistical Bureau, for this open air cinema (Sen 1994). The Indonesian Statistical Bureau (PBS, Pusat Biro Statistik) only covered numbers from ordinary cinemas  in the  big cities  (Sen 1994, 72). <br />By observing New Order’s film policies as well as general and trade magazines, I will investigate van Heeren’s claims above.  I will argue the opposite: Suharto’s government tried to frame this kind of distribution and exhibition cultures, long before 1993, precisely because the villagers were one of their important assets considering that they were the majority of Indonesian citizens.  I will also focus on how the practice and consumption of Layar Tancap and policies of New Order government interact, negotiate, and influence each other.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ca1f896694690a8942005bfb47385490" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36016788,"asset_id":9851793,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36016788/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="9851793"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="9851793"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 9851793; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="9670526"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/9670526/Global_Distribution_of_Classic_Indonesian_Exploitation_Movies_Politics_of_Tastes_and_Contradictions_of_New_Order_s_Political_Policies"><img alt="Research paper thumbnail of Global Distribution of Classic Indonesian Exploitation Movies, Politics of Tastes, and Contradictions of New Order’s Political Policies" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/9670526/Global_Distribution_of_Classic_Indonesian_Exploitation_Movies_Politics_of_Tastes_and_Contradictions_of_New_Order_s_Political_Policies">Global Distribution of Classic Indonesian Exploitation Movies, Politics of Tastes, and Contradictions of New Order’s Political Policies</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Indonesia’s New Order regime (1966-1998) is notorious with its state-control of every aspect of l...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Indonesia’s New Order regime (1966-1998) is notorious with its state-control of every aspect of life. In the film industry, the government applied sharp censorship and controlled all aspects of film production and film organizations to distribution and exhibition.  (Sen 1992; Heider 1991, Jufri 1992, Said 1991). They framed the legitimate culture and set the concept of “Film Indonesia” with the idea of representation of the “true” Indonesian cultures (Barker 2010). <br />On the other hand, the production of B Movies mushroomed, mostly full of sadistic and sensual scenes (1979-1995); the 1980s is considered as “The Golden Era of Indonesian Exploitation Cinema”. Moreover, National Film Council founded Kelompok Kerja Tetap Promosi dan Pemasaran Film Indonesia di Luar Negeri, (Pokjatab Prosar) or The Permanent Working Committee for the Promotion and Marketing of Indonesia Films Abroad.  This official body had succeeded in selling exploitation films at The Manila International Film Festival,  Cannes, and American Film Market in 1982 (Jufri 1992, 98-99), and started up the phenomenon of Indonesian transnational exploitation films.  <br />Why and how did New Order regime export the films they tried to avoid? Why did they apply paradoxical policies? How were the impacts towards transnational exploitation films?  <br />Focusing on the early 1980s, particularly on exportation by Pokjatap Prosar, this paper will  interrogate how series of political policies shaped the production and global distribution of transnational exploitation films.  Applying Bourdeau’s Distinctions, I will investigate how  various establishments of  politics of tastes (undertaken by New Order officials and culture elites, transnational distributors, as well as  local and foreign fans) interacted, contradicted, negotiated and influenced each other. <br /> <br /> <br />Short Bio: <br />Ekky Imanjaya is a PhD candidate from Film Studies, University of East Anglia, Norwich, UK. He is also a faculty member of Film School, BINUS INTERNATIONAL, Bina Nusantara University, Jakarta, Indonesia. Email: <a href="mailto:E.Imanjaya@uea.ac.uk" rel="nofollow">E.Imanjaya@uea.ac.uk</a> <br /> <br /> <br />Citation: <br />1. “Doing the rounds in the festivals in 1982, they found out that what foreign buyers wanted were the sexy, violent exploiters that were being so strongly criticised back home. While the serious art films that were also part of the package may have been politely received, no one wanted to buy them (Tombs 1997, 68). <br />2. “Some films may seem normal to their home cultures, but become objects of curiosity once they leave that context. The reception of a film outside its initial cultural surrounding may easily evoke celebration, devotion or even hostility of a cultist kind (Mathijs & Mendik 2007, 8-9).  <br />3. “Since the 1980s, the exploitation market has changed and become somewhat murkier. The traditional exhibition outlets, such as drive-ins and grindhouse theaters , began to disappear, which made it more difficult to get cheap films shown in cinemas. Video created a new market, yet while cheap exploitation filmmaking certainly existed to fill this market, straight-to-video titles rarely become cult hits. This is perhaps because such films tend to slip beneath the net of many people’s radar. Nevertheless, there is a small, yet growing, trend for people to laud straight-to-video, trashy films on the net…” (Mathijs and Sexton 2011, 52) <br />4. “The theme of searching for the Indonesian face in Indonesian films this year is  the manifestation of a desire which is as vague as the film industry in this country trying to find and formulate its own identity. And the formulation of that face is as difficult as the formulation of a personality and identity of Indonesia”  (Dissenting opinion by one of Indonesian Film Festival juries, D.A. Peransi, Kompas, 1977). <br />5. Film critics dan scholars, until recently still on the continuous debate on searching the real face of Indonesia (or any other Indonesian-ness) in Indonesian cinema. (Sen 1994, 105) <br />6. “In the short term (five years) the basis must be laid for both growth and structural reform in the film industry so as to ensure that Indonesian-made films are able to become truly “national” in character…and are of a standard commensurate with national goal…. (I) n the longer term it is hoped that national film will experience self propelling growth. Support for the development of national film must be on going and continual” (“1989 Basic Guidelines for the Promotion and Development of National Film”,  Department of Information of Repubic of Indonesia, Jufri 1992, 15-16, my emphasis). <br />7. “It is to be hoped that every national film production is able to paint a true picture of the society and culture of its people by presenting beauty of esthetics which are brought together by and originate in the values of the social ethic of the people and their environment….It is hoped that every film is not only created and treated as a commercial commodity, and it is suggested that, at least, it should contain socio-cultural values which reflect the personality and the character of nation making it. Therefore, it is reasonable to expect that the artistic values illustrated in Indonesian films present the image and the culture of the Indonesian people or at the very least, that they will not conflict with cultural values and the policies of the Government in the development of a national culture (Narto Erawan/Director for Guidance in Film and Video Recording of the Departement of Information  and Scretary General of the National Film Board in  Jufri 1992, 71-72). <br />8. “The boundaries of “good taste,” then, must be constantly be policed; proper tastes must be separated from improper tastes; those who possess the wrong tastes must be distinguished from those whose tastes conform more closely to our own expectations (Henry Jenkins, in Mathijs and Mendik, 2007, 432) <br />9. “Taste classifies, and it classifies the classifier. Social subjects, classified by their classifications, distinguish themselves by the distinctions they make, between the beautiful and the ugly, the distinguished and the vulgar, in which, their position in the objective classification is expressed or betrayed” (Bourdeau, 2010, p XXIX) <br />10. “Whereas the ideology of charisma regards taste in legitimate culture as a gift of nature, scientific observation shows that cultural needs are the product of upbringing and education…” (Bourdieu 2010,  xxiv). <br />  Works cited: <br />Bourdieu, Pierre. Distinction : a social critique of the judgement of taste. London ; New York : Routledge 2010 <br />Jufri, Moch et al (Ed). Indonesian Film Panorama. Jakarta: Permanent Committee of the Indonesian Film Festival, 1992. <br />Mathijs, Ernest and Xavier Mendik. The Cult Film Reader. Maidenhead: Open University Press, 2007. <br />Mathijs, Ernest and  Jamie Sexton. Cult Cinema: an Introduction. Oxford :  Wiley-Blackwell 2011 <br />Nagheti, Alireza. “Bootlegging in the Music Industry: A Note “ in European Journal of Law and Economics, 12:1; 57_72, 2001 <br />Sen, Krishna. Indonesian Cinema, Framing the New Order. London & New Jersey: Zed Books Ltd, 1994. <br />Telotte, JP (Ed). The Cult Film Experience, Beyond All Reason. Austin: University of Texass Press 1991. <br />Tombs, Pete. Mondomacabro: Weird and Wonderful Cinema around the World. London: Titan Books, 1997.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="9670526"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="9670526"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 9670526; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=9670526]").text(description); $(".js-view-count[data-work-id=9670526]").attr('title', description).tooltip(); 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</script> <div class="js-work-strip profile--work_container" data-work-id="8838120"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/8838120/_The_Real_Guilty_Pleasure_Lady_Terminator_Sexuality_and_Public_Censorship_in_Indonesia"><img alt="Research paper thumbnail of “The Real Guilty Pleasure”: Lady Terminator¸ Sexuality, and Public Censorship in Indonesia" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/8838120/_The_Real_Guilty_Pleasure_Lady_Terminator_Sexuality_and_Public_Censorship_in_Indonesia">“The Real Guilty Pleasure”: Lady Terminator¸ Sexuality, and Public Censorship in Indonesia</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">After passed strict censorship board, Pembalasan Ratu Laut Selatan (Tjut Djalil, 1988, Indonesia...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">After passed strict censorship board,  Pembalasan Ratu Laut Selatan (Tjut Djalil, 1988, Indonesia) or Lady Terminator was withdrawn from national distribution in 1988 due to  violence and, mainly, sexual scenes after 9 days on theatrical release in Indonesia.  Society, particularly public figures—from senators and journalists to religious leaders---blamed censorship board for being softened, some suspected that they might be bribed, for releasing the films.  Some people even planned to sue the board. Tempo Magazine, the biggest magazine,even picked up this issue as their headline, with the tagline “Astaghfirullah Film Indonesia” (Oh My God, Indonesian Movies!). The situation above is unique because it is notoriously known that Indonesia’s New Order (1966-1998) undertook state control on every aspect of life, including sharp censorship and controlling film organizations. The government also framed movies to “search for the real Indonesian faces on screen” and “represent the true Indonesian culture”, which means excluding violence and erotic scenes from the screen.  On the other hand, in this case, the film already passed the official censorship board, but was opposed by public and subsequently got withdrawn. <br /> <br />I assume that the film caused moral panics within the society because it was considered as a  ‘threat to societal values and interests’ (Cohen, 1972, p.9) and challenged legitimate culture. Bylooking at the media reception in 1988, this paper will investigate the bigger context of Indonesia’s political and social situation regarding the withdrawn of the film and social anxiety surrounding it. Particularly, I want to interrogate how various Politics of Tastes (government, culture elites, mainstream society, and film producers) interacted, contradicted, and negotiated within this case.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="8838120"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="8838120"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 8838120; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=8838120]").text(description); $(".js-view-count[data-work-id=8838120]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 8838120; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='8838120']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=8838120]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":8838120,"title":"“The Real Guilty Pleasure”: Lady Terminator¸ Sexuality, and Public Censorship in Indonesia","internal_url":"https://www.academia.edu/8838120/_The_Real_Guilty_Pleasure_Lady_Terminator_Sexuality_and_Public_Censorship_in_Indonesia","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="8838062"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/8838062/_Entertaining_the_Villagers_Rural_Audiences_Mobile_Cinema_and_Classic_Exploitation_Indonesian_Cinema_"><img alt="Research paper thumbnail of "Entertaining the Villagers: Rural Audiences, Mobile Cinema, and Classic Exploitation Indonesian Cinema"" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/8838062/_Entertaining_the_Villagers_Rural_Audiences_Mobile_Cinema_and_Classic_Exploitation_Indonesian_Cinema_">"Entertaining the Villagers: Rural Audiences, Mobile Cinema, and Classic Exploitation Indonesian Cinema"</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">During New Order era (1966-1998), rural and suburban societies were always considered as second c...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">During New Order era (1966-1998), rural and suburban societies were always considered as second class citizens. Related to spectatorship, those villagers got “second class” entertainment. They did not enjoy new films in a decent permanent movie theater, or immediately once the films were released.  They watched the films in Layar Tancap,  or mobile cinema. <br />Although New Order regime  applied state-control to every aspect of life, including in film industry—from sharp censorship to supervising film-related organizations—but Layar Tancap theaters were out of radar until 1993 (van Heeren 2012).  No  specific government policies, including from censorship board and The Indonesian Statistical Bureau, has applied for this open air cinema (Sen 1994). Until recently, Layar Tancap shows commonly operate in rural and suburban areas, and the audiences come from lower-class. Therefore, while other forms of social activities were being controlled, Layar Tancap shows have developed  their own dynamics:    screenings of uncensored films,  and “immoral” behaviours such as drunkenness, gambling and other criminal acts.  There, second class citizens, namely villagers and working/lower class--celebrated  exploitation and B-grade movies—kind of films that were overlooked  by film critics and marginalized by government and culture elites. On the other hand, government also used Layar Tancap as propaganda means. <br /> <br />In this paper, I will discuss about phenomenon of layar tancap  and Misbar (seasonal cinema) as counterculture of official and legitimate culture; particularly on rural audiences as its subculture. By observing New Order’s film policies as well as  general  and trade magazines, I will investigate why and how this kind of cinema were out of New Order radar, how Layar Tancap operated as displays of classic Indonesian B-films, and how they generated  unique subculture of rural spectatorship.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="8838062"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="8838062"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 8838062; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=8838062]").text(description); $(".js-view-count[data-work-id=8838062]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 8838062; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='8838062']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=8838062]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":8838062,"title":"\"Entertaining the Villagers: Rural Audiences, Mobile Cinema, and Classic Exploitation Indonesian Cinema\"","internal_url":"https://www.academia.edu/8838062/_Entertaining_the_Villagers_Rural_Audiences_Mobile_Cinema_and_Classic_Exploitation_Indonesian_Cinema_","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="4694915"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/4694915/The_Origins_of_Indonesian_Classic_Exploitation_Films_The_Dynamics_of_Film_Production_and_Politics_of_Tastes_in_Indonesia_s_New_Order_Regime"><img alt="Research paper thumbnail of The Origins of Indonesian Classic Exploitation Films: The Dynamics of Film Production and Politics of Tastes in Indonesia’s New Order Regime" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/4694915/The_Origins_of_Indonesian_Classic_Exploitation_Films_The_Dynamics_of_Film_Production_and_Politics_of_Tastes_in_Indonesia_s_New_Order_Regime">The Origins of Indonesian Classic Exploitation Films: The Dynamics of Film Production and Politics of Tastes in Indonesia’s New Order Regime</a></div><div class="wp-workCard_item"><span>The Politics of Art and Culture in Southeast Asia (panel)</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In Indonesia, popular Indonesian films, especially exploitation movies produced in Indonesia’s Ne...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In Indonesia, popular Indonesian films, especially exploitation movies produced in Indonesia’s New Order era, are overlooked and underrated by most of film critics, film journalists, and film scholars.  This era has become notorious in its enacting of a state-controlled totalitarian system of government which dominated every aspect of life under the guise of security, development, and stability. In the film industry, the government applied sharp censorship and controlling all aspects of film production and  film organizations  to distribution and exhibition. <br /> <br />However, despite the ideological framing and state control undertaken by New Order regime, the production of low-budget B Movies persisted and mushroomed particularly from late 1970s to early 1990s, and is considered as  “The Golden Era of Indonesian Exploitation Cinema” by some global fans and scholars. Apparently, The New Order had several policies designated to rehabilitate the development of the film industry and support the import of foreign films. Ministerial decrees were enacted to improve film development with a focus upon a “quantity approach” or “audience approach,”. <br /> <br />This paper will look at how exploitation movies were understood and produced during the New Order era by  interrogating how  series of political policies shaped the production, (and, later, the consumption) of exploitation films, the kind of films that they were actually trying to avoid.  And lastly,  I want to investigate  why and how the films were produced for political reasons from series of political contradictions.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="4694915"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="4694915"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4694915; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4694915]").text(description); $(".js-view-count[data-work-id=4694915]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 4694915; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='4694915']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=4694915]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":4694915,"title":"The Origins of Indonesian Classic Exploitation Films: The Dynamics of Film Production and Politics of Tastes in Indonesia’s New Order Regime","internal_url":"https://www.academia.edu/4694915/The_Origins_of_Indonesian_Classic_Exploitation_Films_The_Dynamics_of_Film_Production_and_Politics_of_Tastes_in_Indonesia_s_New_Order_Regime","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="4394474"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/4394474/Rediscovering_Crazy_Indonesia_Classic_Indonesian_Exploitation_Cinema_according_to_2000s_Western_Cult_Fans"><img alt="Research paper thumbnail of Rediscovering “Crazy Indonesia”: Classic Indonesian Exploitation Cinema according to 2000s Western Cult Fans" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/4394474/Rediscovering_Crazy_Indonesia_Classic_Indonesian_Exploitation_Cinema_according_to_2000s_Western_Cult_Fans">Rediscovering “Crazy Indonesia”: Classic Indonesian Exploitation Cinema according to 2000s Western Cult Fans</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Most of Indonesian films recirculated in 2000s international DVD circuits are those 1970s-1990s e...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Most of Indonesian films recirculated in 2000s international DVD circuits are those 1970s-1990s exploitation Movies.  Indonesia’s underrated Filmmakers such as Arizal and Tjut Tjalil as well as actors such as Barry Prima and  Eva Arnaz are among those who are celebrated by global cult fans.  Films like Lady Terminator (Pembalasan Ratu Laut Selatan), or The Warrior (Jaka Sembung) series  are discussed among cult film fans forums and blogs, but are neglected, abandoned, and underrated in Indonesia. All the films were originally produced, distributed, and exhibited in Indonesia during the last 20 years of New Order era by dictatorship of Suharto. A Greek fan calls it s “Crazy Indonesia”. Some DVD distributors--MondomacabroDVD, Troma Team, and VideoAsia—label the movies as cult films. <br />The paper will analyse online fan cultures of Western audiences  towards the movies. I want to elaborate their ideology of subculture: on why and how they celebrate the films. I argue that there are 2 types of films,  that  feed Western fans’ tastes:  first, “Indigenous” genre (in Karl Heider’s term) such Legenda (legend, myth, supernatural), Kumpeni (local <super> heroes in Dutch colonial era), and Silat (martial art)  (Heider 1991) which are considered as exotic, marginalized,  peculiar  and unknown to Western cult community; second, Americanized Exploitation (sub)genres (cannibalism, women in prison, mockbuster, etc.) which perfectly fit their expectations. <br />Applying Kozinets’ Netnography, I will examine some fans’ blogs, reviews, discussions at online forums, and transactions as well as offline events (screenings, meetings). I will have discourse analysis on the computer mediated communication produced by the fans, particularly activities at AV Maniac, Backyard-Asia, enlejemordersertilbage.blogspot.com, damnthatojeda.wordpress.com, Die Danger Die Die Kill, and THE_CINEHOUND_FORUM.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="4394474"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="4394474"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4394474; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4394474]").text(description); $(".js-view-count[data-work-id=4394474]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 4394474; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='4394474']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=4394474]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":4394474,"title":"Rediscovering “Crazy Indonesia”: Classic Indonesian Exploitation Cinema according to 2000s Western Cult Fans","internal_url":"https://www.academia.edu/4394474/Rediscovering_Crazy_Indonesia_Classic_Indonesian_Exploitation_Cinema_according_to_2000s_Western_Cult_Fans","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="4364480"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/4364480/Defining_Crazy_Indonesia_Politics_of_Tastes_Classic_Indonesian_Exploitation_Cinema_and_Global_Cult_Fandom"><img alt="Research paper thumbnail of Defining “Crazy Indonesia”: Politics of Tastes, Classic Indonesian Exploitation Cinema, and Global Cult Fandom" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/4364480/Defining_Crazy_Indonesia_Politics_of_Tastes_Classic_Indonesian_Exploitation_Cinema_and_Global_Cult_Fandom"> Defining “Crazy Indonesia”: Politics of Tastes, Classic Indonesian Exploitation Cinema, and Global Cult Fandom</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In 2000s, some international distributors recirculate 1970s-1990s Indonesian exploitation movies....</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In 2000s, some international distributors recirculate 1970s-1990s Indonesian exploitation movies.  The films are framed by the distributors as “cult films”, and  have global cult followers.  A fan calls them: “Crazy Indonesia”. Considered as bad, undervalued, and far from becoming a representation of national identity in Indonesia; the films  are celebrated by non-Indonesian fans because of their otherness, weirdness, and exoticism. <br /> <br />Those “Crazy Indonesia” films represents the same texts, but with two very different contexts and tastes.  This paper will examine two aspects related to the term “Crazy Indonesia”.  First, from the perspectives of the politics of Taste in the (1980s) Indonesia which were framed by, as Barker and Setijadi-Dunn put it,  The Projects of Nationalism, which is searching for “Indonesian Faces” on screen—hence, only consider films with idealistic topics, and art-house/realism approach as “Indonesian Films”. Those kinds of frame exclude most of fantasy and B-grade movies. <br /> <br />Second, the paper will analyse the films according to the global cult fans, specifically focusing on their blogs and forums. I argue that there are two types of the films: the “indigenous” genres (Karl Heider’s term) such as Legend, Silat (martial art) ,  and Kumpeni (Dutch colonial era); and Americanized  Exploitation subgenres.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="4364480"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="4364480"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4364480; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); 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In late 1990s, the films are rereleased in DVD format. <br />Unlike most other titles produced and distributed by Troma, the first FFFF has special treatment: Troma Team decided to rework the film by rewritten and rerecorded the dialog in order to make it more into a “Troma film”.  They call it “Tromatized”.  In result, influenced by Woody Allen’s What’s Up Tiger Lily, the film has totally different story and taste. <br />The paper will examine how and why Troma Team redubbed the film and, in doing so,  will elaborate the definition of “Troma film” and “tromatized”.  Focusing on Ferocious Female Freedom Fighters, I will elaborate the strategy of Troma team to frame and as the same time feed their hard cult fans’ taste by doing the redubbing. In order to do so, I will also analyse the use of dubbing as a means to market the films by applying theories by Frederic Chaume Varela (polysystemic approaches) and Markus Nornes (corrupt and abusive subtitling theories)</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="4285336"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="4285336"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4285336; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="383471" id="talks"><div class="js-work-strip profile--work_container" data-work-id="36364797"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/36364797/Marlina_women_and_gender_issues_in_Indonesia_film_screening_introduction_Q_and_A_"><img alt="Research paper thumbnail of 'Marlina: women and gender issues in Indonesia (film screening, introduction, Q&A)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/36364797/Marlina_women_and_gender_issues_in_Indonesia_film_screening_introduction_Q_and_A_">'Marlina: women and gender issues in Indonesia (film screening, introduction, Q&A)</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">'Marlina: women and gender issues in Indonesia' Film Screening of "Marlina the Murderer in Four A...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">'Marlina: women and gender issues in Indonesia'<br />Film Screening of "Marlina the Murderer in Four Acts" with Introduction and Q&A  <br />Rating: 15+ <br /><br />Watershed, Bristol, Tuesday, 24 April 2016, 18.00  <br />With:  Hana A Satriyo (expert on Gender and Women’s participation)<br />Ekky Imanjaya (PhD candidate in Film Studies at University of East Anglia/Lecturer at Bina Nusantara University).<br />Considered one of the most significant films to emerge from Indonesia in recent years, female director Mouly Surya '"Marlina the Murderer in Four Acts" deals with multiple layers of gender and women issues within the country, through the vehicle of, as critic Maggie Lee  puts it, “female-driven journey of vengeance and justice” which tells a story about “… a revenge fantasy rooted in Indonesia’s gender conditions, complex regional culture and the stark beauty of its landscapes” (Variety, 26/5 2017).  <br />Labelled as pioneering a new genre called “Satay Western”, the film was selected and screened at 2017 Cannes Film Festival’s Director Fortnight. It traveled  around many film festivals all over the world and got some prestigious awards such as Best actress ( Sitges International Fantastic Film Festival),  Best Director (Netpac Award, Five Flavours Film Festival), Grand Prize (Tokyo FILMeX2017), Special Mention (Jogja-NETPAC Asian Film Festival 2017), and Best scenario ( Festival International du Film de Femmes de Salé).  <br /> <br />To celebrate both the film's theatrical release in the UK and Kartini Day (21st April is the anniversary of the birth of Raden Ajeng Kartini, one of Indonesian's first feminists),  the Watershed has organized a discussion event on contemporary women and gender issues within Indonesian and Southeast Asian national contexts. Hana A Satriyo and Ekky Imanjaya will give the introduction and hold a Q&A session covering a range of women and gender issues, ranging from the patriarchal cultures in general to the roles of women in Indonesian film industry.<br />All are welcome.<br />Buy the tickets here (Tue, 24/4, 6pm): <a href="https://uk.patronbase.com/_Watershed/Seats/NumSeats?prod_id=12BL&perf_id=5&section_id=M&action=&seat_type_id=STAN&_ga=2.72610643.1375548281.1522857159-1317473638.1522857159" rel="nofollow">https://uk.patronbase.com/_Watershed/Seats/NumSeats?prod_id=12BL&perf_id=5&section_id=M&action=&seat_type_id=STAN&_ga=2.72610643.1375548281.1522857159-1317473638.1522857159</a><br /><br />More details about the screenings of "Marlina" in Watershed<br /><a href="https://www.watershed.co.uk/whatson/8866/marlina-the-murderer-in-four-acts/" rel="nofollow">https://www.watershed.co.uk/whatson/8866/marlina-the-murderer-in-four-acts/</a><br /><br />Co-organized by Ekky Imanjaya & Toby Reynolds</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36364797"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36364797"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36364797; 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K. H Mas Mansyur kav.35. Campu...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Kamis, 27 Agustus, London School of PR,  Sudirman Park Office, Jl. K. H Mas Mansyur kav.35. Campus C LSPR. 2-4pm</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7f5b2cbcf4bd8051833e0851ec72cebf" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38554919,"asset_id":15140111,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38554919/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="15140111"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="15140111"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 15140111; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=15140111]").text(description); $(".js-view-count[data-work-id=15140111]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 15140111; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='15140111']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="11691659"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/11691659/_Crazy_Indonesia_Politics_of_Tastes_and_Niche_Criticism_of_Classic_Indonesian_Exploitation_Cinema"><img alt="Research paper thumbnail of “Crazy Indonesia”: Politics of Tastes and Niche Criticism of Classic Indonesian Exploitation Cinema" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/11691659/_Crazy_Indonesia_Politics_of_Tastes_and_Niche_Criticism_of_Classic_Indonesian_Exploitation_Cinema">“Crazy Indonesia”: Politics of Tastes and Niche Criticism of Classic Indonesian Exploitation Cinema</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Politics and Culture in Indonesia Working Group and the Department of Anthropology at Harvard pre...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Politics and Culture in Indonesia Working Group and the Department of Anthropology at Harvard present: <br /> <br />“Crazy Indonesia”: Politics of Tastes and Niche Criticism of Classic Indonesian Exploitation Cinema <br /> <br />a talk by Ekky Imanjaya (Film critic and a PhD candidate at Art, Media, and American Studies, University of East Anglia, the United Kingdom) <br /> <br />Monday, March 30, 2015 <br />2.30 -4pm, Bowditch Room, Peabody Museum <br />the Department of Anthropology, Harvard University <br /> <br />Both the Indonesian government and cultural elites during New Order era (1966-1998) define Indonesian cinema as those films with "cultural and educational purposes" (Film Kultural Edukatif) or films, which attempts to “present” Indonesian faces on screen. Interestingly, most Indonesian films that are re-circulated in the 2000s international DVD circuits are those of 1970s-1990s exploitation movies. They were originally produced, distributed, exhibited, and exported in Indonesia during the period of Suharto’s dictatorship. <br /> <br />Labelled and distributed by DVD distributors–MondomacabroDVD, Troma Team, and VideoAsia—as cult films, films like Lady Terminator or The Warrior (Jaka Sembung) series are discussed among cult film fans in online forums and blogs. Indonesia’s underrated filmmakers, such as Arizal and Tjut Tjalil as well as popular actors, such as Barry Prima and Eva Arnaz also make a comeback and become those who are celebrated by global cult fans, despite their overlooked status in Indonesia’s legitimate culture contexts. Focusing on fans reviews and critical conversations about the films, Ekky Imanjaya will investigate how global fans critically perceive and respond to these films. How do global fans define and formulate the term “Crazy Indonesia” and the Indonesia-ness of the films? <br /> <br />Ekky Imanjaya is a PhD candidate at Art, Media, and American Studies, University of East Anglia. He is also faculty member at Film Department, BINUS INTERNATIONAL, Bina Nusantara University, Jakarta. He has published articles in journals, including Jump Cut, Asian Cinema, Cinematheque Quarterly, Wacana, and Cinemaya. He has recently guest edited a special issue entitled “The Bad, The Worse, and The Worst: The Significance of Indonesian Cult, Exploitation, and B Movies” for Plaridel : A Philippine Journal of Communication, Media, and Society.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11691659"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11691659"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11691659; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11691659]").text(description); $(".js-view-count[data-work-id=11691659]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11691659; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11691659']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=11691659]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11691659,"title":"“Crazy Indonesia”: Politics of Tastes and Niche Criticism of Classic Indonesian Exploitation Cinema","internal_url":"https://www.academia.edu/11691659/_Crazy_Indonesia_Politics_of_Tastes_and_Niche_Criticism_of_Classic_Indonesian_Exploitation_Cinema","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="4285285"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/4285285/_The_Act_of_Killing_plus_Q_and_A"><img alt="Research paper thumbnail of "The Act of Killing" plus Q&A" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/4285285/_The_Act_of_Killing_plus_Q_and_A">"The Act of Killing" plus Q&A</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Thanks to support from the Bertha Foundation, a series of special screenings and events will be t...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Thanks to support from the Bertha Foundation, a series of special screenings and events will be taking place across Picturehouse Cinemas from 28 June for the release of the astonishing new documentary THE ACT OF KILLING. <br /> <br />Executive-produced by iconic filmmakers Werner Herzog and Errol Morris, THE ACT OF KILLING charts the legacy of bloody anti-communist purges in Indonesia in 1965 in surreal and chilling fashion, by having the unrepentant perpetrators re-enact their killings in the style of their favourite Hollywood genre films. <br /> <br />Alongside these events, Indonesian human rights group Tapol are conducting a special campaign asking the Indonesian government to officially acknowledge the 1965 atrocities, so that a long-overdue process of truth, reconciliation and justice can finally begin. <br /> <br />So join us for screenings of an extended cut of the film, director Q&As and panel discussions with experts. Discover a truly staggering work of non-fiction filmmaking, and challenge the Indonesian government to Say Sorry for ’65! <br />We are delighted to welcome Ekky Imanjaya, Researcher in Indonesian Cinema at the University of East Anglia, and Indria Fernida, visiting representative of Indonesian human rights group KontraS, for a panel discussion following this special extended cut screening. The discussion will be chaired by Norwich Amnesty.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="4285285"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="4285285"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4285285; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4285285]").text(description); $(".js-view-count[data-work-id=4285285]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 4285285; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='4285285']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=4285285]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":4285285,"title":"\"The Act of Killing\" plus Q\u0026A","internal_url":"https://www.academia.edu/4285285/_The_Act_of_Killing_plus_Q_and_A","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="2573268"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/2573268/Reaching_Out_Film_Educators_in_Southeast_Asia"><img alt="Research paper thumbnail of Reaching Out: Film Educators in Southeast Asia " class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/2573268/Reaching_Out_Film_Educators_in_Southeast_Asia">Reaching Out: Film Educators in Southeast Asia </a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This round table will address issues related to education and the use of film as a tool for educa...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This round table will address issues related to education and the use of film as a tool for educational outreach in the experience of leading Southeast Asian educators, archivists, film scholars, and community programmers. Discussants include Nick Deocampo- Philippines, Chalida Uabumrungjit- Thailand, Michael R. DiGregorio- Viet Nam, Ekky Imanjaya- Indonesia, with moderator Tan Bee Thiam, Singapore. <br /> <br />I discuss my experience as a film educator for high school students for 1,5 years. I chose clips from popular films, music video, or ad to deliver course intended learning outcomes both on film-related courses or  general courses.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="2573268"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="2573268"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2573268; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2573268]").text(description); $(".js-view-count[data-work-id=2573268]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2573268; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='2573268']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=2573268]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":2573268,"title":"Reaching Out: Film Educators in Southeast Asia ","internal_url":"https://www.academia.edu/2573268/Reaching_Out_Film_Educators_in_Southeast_Asia","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="2573224"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/2573224/Behind_the_Camera_Master_Filmmakers_from_Southeast_Asia"><img alt="Research paper thumbnail of Behind the Camera: Master Filmmakers from Southeast Asia" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/2573224/Behind_the_Camera_Master_Filmmakers_from_Southeast_Asia">Behind the Camera: Master Filmmakers from Southeast Asia</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">including the screening of my short documentary on The Tielman Brothers and Indorock: "The Tielma...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">including the screening of my short documentary on The Tielman Brothers and Indorock: "The Tielmans". This ‘indorockumentary’ tells the story of The Tielman Brothers, the band that started the European musical revolution known as Indorock and pioneered Dutch “Nederpop.”</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="2573224"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="2573224"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2573224; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2573224]").text(description); $(".js-view-count[data-work-id=2573224]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2573224; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='2573224']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=2573224]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":2573224,"title":"Behind the Camera: Master Filmmakers from Southeast Asia","internal_url":"https://www.academia.edu/2573224/Behind_the_Camera_Master_Filmmakers_from_Southeast_Asia","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="2573178"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/2573178/The_Anomalous_Islamic_Movies_and_other_Recent_Issues_as_Representation_of_Muslim_World_in_Post_New_Order_Indonesian_Cinema_"><img alt="Research paper thumbnail of The Anomalous Islamic Movies and other Recent Issues as Representation of Muslim World in Post-New Order Indonesian Cinema," class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/2573178/The_Anomalous_Islamic_Movies_and_other_Recent_Issues_as_Representation_of_Muslim_World_in_Post_New_Order_Indonesian_Cinema_">The Anomalous Islamic Movies and other Recent Issues as Representation of Muslim World in Post-New Order Indonesian Cinema,</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Do Commercialism and Islamic Law (Shariah) and Virtues become potential factors to lower the qual...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Do Commercialism and Islamic Law (Shariah) and Virtues become potential factors to lower the quality of so-called Indonesian ?Islamic Cinema??. Those factors seem to be embedded in most recent post- New Order Islamic films, and some film critics highlight that most of the movies in this ?genre? are mediocre. In Salim Said?s point-of-view, the battle between commercial films versus idealist films is eternal. But how about the position of Islamic Law and virtues both in the content and (pre)production of idealist Islamic films: to endorse or to worsen the quality of the movie? On the other hand, there are some discourses from Dakwah activist claiming that both filmmaking process and the stories should obey fit with Fiqih and Shariah. For example, they try to find the way out the problem when there is a scene about husband and wife hugging, but in the real life they are not the real couple (thus, they are not allowed to do so). Ketika Cinta Bertasbih (When Love is praying) is another interesting case, while they create a TV show for casting the actors to be fitted with some Islamic values embodied in fiction characters.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="2573178"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="2573178"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2573178; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=2573178]").text(description); $(".js-view-count[data-work-id=2573178]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2573178; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='2573178']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=2573178]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":2573178,"title":"The Anomalous Islamic Movies and other Recent Issues as Representation of Muslim World in Post-New Order Indonesian Cinema,","internal_url":"https://www.academia.edu/2573178/The_Anomalous_Islamic_Movies_and_other_Recent_Issues_as_Representation_of_Muslim_World_in_Post_New_Order_Indonesian_Cinema_","owner_id":875313,"coauthors_can_edit":true,"owner":{"id":875313,"first_name":"Ekky","middle_initials":"","last_name":"Imanjaya","page_name":"EkkyImanjaya","domain_name":"ubn","created_at":"2011-10-24T19:01:36.194-07:00","display_name":"Ekky Imanjaya","url":"https://ubn.academia.edu/EkkyImanjaya"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="383489" id="teachingdocuments"><div class="js-work-strip profile--work_container" data-work-id="2573280"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/2573280/PT_Merantau_Films_The_Raid"><img alt="Research paper thumbnail of PT Merantau Films: The Raid" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/2573280/PT_Merantau_Films_The_Raid">PT Merantau Films: The Raid</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Case Study from Case Study Center, BINUS INTERNATIONAL, Bina Nusantara University, Jakarta. T...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Case Study from Case Study Center, BINUS INTERNATIONAL, Bina Nusantara University, Jakarta. <br /> <br />This case describes how PT Merantau Films successfully launched the movie The Raid through series of processes: the production, distribution, and exhibition</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="2573280"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="2573280"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 2573280; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="43826901"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/43826901/Transnational_Exploitation_Cinema_In_Southeast_Asia_The_Cases_Of_Indonesia_And_The_Philippines_"><img alt="Research paper thumbnail of Transnational Exploitation Cinema In Southeast Asia: The Cases Of Indonesia And The Philippines"." class="work-thumbnail" src="https://attachments.academia-assets.com/64146154/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43826901/Transnational_Exploitation_Cinema_In_Southeast_Asia_The_Cases_Of_Indonesia_And_The_Philippines_">Transnational Exploitation Cinema In Southeast Asia: The Cases Of Indonesia And The Philippines".</a></div><div class="wp-workCard_item"><span>"Southeast Asia On Screen From Independence To Financial Crisis (1945-1998</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Indonesia and the Philippines both developed exploitation cinema in the 1970s and 1980s that was ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Indonesia and the Philippines both developed exploitation cinema in the 1970s and 1980s that was marketed and exported overseas. Iconic titles produced during this era include Women in Cages (1971) and Vampire Hookers (1978) from the Philippines and The Queen of Black Magic (1981) and Lady Terminator (1989) from Indonesia. In both countries, exploitation production occurred under the auspices of authoritarianism: the New Order in Indonesia (1966-1998) and the presidency of Ferdinand Marcos in the Philippines (1965-1986). By tracing the development of exploitation cinema in both Indonesia and the Philippines, this chapter shows how exploitation films developed in two Southeast Asian countries under quite different local conditions that included quite different drivers, players, and structural factors. At the same time, both countries were involved in a transnational exploitation film market that connected both countries to larger trends but created connections between Indonesia and Philippines that have to date not been explored.<br /><br /> <br /><br />In the Philippines of the late 1960s, filmmakers such as Eddie Romero and Gerardo de León were without production capital following the decline of the Studio Era, and found themselves working with American producers such as Roger Corman looking for cheap locations to make exploitation pictures for the American grindhouse, drive-in and b-grade circuits. Broadly, these films were framed by the colonial relationship with the United States. In Indonesia by contrast, a contradictory set of local policies drove a small group of local commercial producers with global ambitions into international exploitation circuits. Both industries intertwined at various points including at film markets, in content, and the translation of exploitation genres within a Southeast Asian style of filmmaking.<br /><br />Barker, Thomas, and Ekky Imanjaya. ), Gaik Cheng Khoo et al., Amsterdam University Press, Amsterdam, 2020.  Free Preview: <a href="https://www.aup.nl/en/book/9789462989344/southeast-asia-on-screen" rel="nofollow">https://www.aup.nl/en/book/9789462989344/southeast-asia-on-screen</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="89b261a3a80f017d71d9ef6c05da3152" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64146154,"asset_id":43826901,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64146154/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43826901"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43826901"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43826901; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="980131" id="popularwriting"><div class="js-work-strip profile--work_container" data-work-id="98255718"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/98255718/Islam_and_box_office_a_match_made_in_heaven"><img alt="Research paper thumbnail of Islam and box-office a match made in heaven" class="work-thumbnail" src="https://attachments.academia-assets.com/99657714/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/98255718/Islam_and_box_office_a_match_made_in_heaven">Islam and box-office a match made in heaven</a></div><div class="wp-workCard_item"><span>360Info</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Islamic films have found a devoted market in Indonesia. Commercial success will prolong the trend...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Islamic films have found a devoted market in Indonesia. Commercial success will prolong the trend.<br />Source:<br /><a href="https://360info.org/islam-and-box-office-a-match-made-in-heaven/" rel="nofollow">https://360info.org/islam-and-box-office-a-match-made-in-heaven/</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="60b8044c32313803fd4535ee256cf84a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":99657714,"asset_id":98255718,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/99657714/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="98255718"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="98255718"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 98255718; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="93857011"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/93857011/Menonton_Ulang_Setelah_Lewat_Djam_Malam_di_Panggung_Teater"><img alt="Research paper thumbnail of Menonton Ulang (Setelah) Lewat Djam Malam di Panggung Teater" class="work-thumbnail" src="https://attachments.academia-assets.com/96478179/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/93857011/Menonton_Ulang_Setelah_Lewat_Djam_Malam_di_Panggung_Teater">Menonton Ulang (Setelah) Lewat Djam Malam di Panggung Teater</a></div><div class="wp-workCard_item"><span>Tirto.id</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Ulasan "Menonton Ulang (Setelah) Lewat Djam Malam di Panggung Teater". Pertunjukan Setelah Lewat...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Ulasan  "Menonton Ulang (Setelah) Lewat Djam Malam di Panggung Teater". Pertunjukan Setelah Lewat Djam Malam (SLDM) dipimpin sutradara Yudi Ahmad Tajudin dan ditulis oleh oleh Permata Adinda serta Shohifur Ridho’I. SLDM menjelajahi berbagai kemungkinan potensi kolaborasi antara seni teater dengan sinema, juga dengan seni musik dan tari. <br /> <br />Baca selengkapnya di artikel "Menonton Ulang (Setelah) Lewat Djam Malam di Panggung Teater", <a href="https://tirto.id/gzp1" rel="nofollow">https://tirto.id/gzp1</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="42e418289741b82dcb9a2ce83031f68c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":96478179,"asset_id":93857011,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/96478179/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="93857011"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="93857011"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 93857011; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="75957872"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/75957872/_Mati_Suri_Perfilman_Indonesia_Dekade_90an"><img alt="Research paper thumbnail of (Mati Suri) Perfilman Indonesia Dekade 90an" class="work-thumbnail" src="https://attachments.academia-assets.com/83641410/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/75957872/_Mati_Suri_Perfilman_Indonesia_Dekade_90an">(Mati Suri) Perfilman Indonesia Dekade 90an</a></div><div class="wp-workCard_item"><span>Zinetflix</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Tulisan saya di Zinetflix no 3; 30 Maret 2022. Tentang sejarah film Indonesia 1990an yang tidak p...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Tulisan saya di Zinetflix no 3; 30 Maret 2022.<br />Tentang sejarah film Indonesia 1990an yang tidak pernah benar-benar mati suri.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="201e90aacfc9f4291cd503a61086454b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":83641410,"asset_id":75957872,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/83641410/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="75957872"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="75957872"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 75957872; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="39706970"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39706970/The_Significance_of_Garin_Nugroho"><img alt="Research paper thumbnail of The Significance of Garin Nugroho" class="work-thumbnail" src="https://attachments.academia-assets.com/59879146/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39706970/The_Significance_of_Garin_Nugroho">The Significance of Garin Nugroho</a></div><div class="wp-workCard_item"><span>Taipei Film Festival Programme Catalogue</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">My articles (both in English and Chinese) for Taipei Film Festival Programme Catalogue. They had...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">My articles (both in English and Chinese) for Taipei Film Festival Programme Catalogue.  They had program titled "Filmmaker in Focus: Garin Nugroho", and asked me to write an essay about it.<br /><br />Check page  207 (for Chinese version)  and page 220 (for English version.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5b4ef381e9aeed84227df1b208331740" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59879146,"asset_id":39706970,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59879146/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39706970"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39706970"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39706970; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="35052974"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35052974/Si_Unyil_Media_Cult_dan_Generasi_1980an"><img alt="Research paper thumbnail of Si Unyil, Media Cult dan Generasi 1980an" class="work-thumbnail" src="https://attachments.academia-assets.com/54913198/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35052974/Si_Unyil_Media_Cult_dan_Generasi_1980an">Si Unyil, Media Cult dan Generasi 1980an</a></div><div class="wp-workCard_item"><span>Validnews.co</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Lebih dari sekadar tontonan akhir pekan, Panggung Boneka Si Unyil yang lebih dari 30 tahun lalu d...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Lebih dari sekadar tontonan akhir pekan, Panggung Boneka Si Unyil yang lebih dari 30 tahun lalu dianggap sebagai alat propaganda Orde Baru (Orba), kini menjadi media cult dan punya pengaruh trivial cukup signifikan dalam budaya pop. Sementara para penggemarnya yang menjadi target propaganda Orba—anak-anak generasi 1980-an yang kini menjelma menjadi penggerak ekonomi-budaya-politik-sosial—memilah-milah ingatan bersama dan justru menjadi salah satu penyebab keruntuhan Orde Baru.<br /><br />Bibliografi<br /><br />Bappenas. “Repelita IV, Buku III.” Jakarta: Badan Perencanaan Pembangunan Nasional, 9 Januari 2009. <a href="https://www.bappenas.go.id/id/data-dan-informasi-utama/dokumen-perencanaan-dan-pelaksanaan/repelita-iv---buku-iii/" rel="nofollow">https://www.bappenas.go.id/id/data-dan-informasi-utama/dokumen-perencanaan-dan-pelaksanaan/repelita-iv---buku-iii/</a> diakses 20 Oktober 2017.<br />Fiske, John. “The Cultural Economy of Fandom”. The Cult Film Reader, edited by Mathijs, , Ernest and Xavier Mendik,  Open University Press, 2007,  p445-455.<br /> Grant, Barry. “Science Fiction Double Feature: Ideology in the Cult Film”.  The Cult Film Experience, Beyond All Reason. Telotte, JP, Austin:  University of Texas Press, 1991, p 122-137.<br />Hendriyani, Ed Hollander, Leen d’Haenens and Johannes Beentjes. “Children's Television in Indonesia”. Journal of Children and Media, Vol. 5, No. 1, 2011, 86-100.<br />Hill, Matt. Fan Cultures.  London and New York: Routledge, 2002.<br />Imanda, Tito. “Si Unyil Anak Indonesia”. Jurnal Antropologi Indonesia no 75 (2004). <a href="http://journal.ui.ac.id/index.php/jai/article/view/3518/2794" rel="nofollow">http://journal.ui.ac.id/index.php/jai/article/view/3518/2794</a> diakses 20 Oktober 2017.<br />Jenkins, Henry. Convergence Culture (Where Old and New Media Collide). New York, NYU Press, 2006. <br />Jenkins, Henry.  Textual Poachers: Television Fans and  Participatory Culture.  Routledge, 1992 <br />Kitley, Philip. “Pancasila in the Minor Key: TVRI’s Si Unyil Models the Child”.  Indonesia 68 (October 1999), 129–152.<br />Mathijs, Ernest and Xavier Mendik.  The Cult Film Reader. Open University Press, 2007.<br />Mathijs, Ernest and Jamie Sexton. Cult Cinema: an Introduction.  Wiley-Blackwell 2011.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d737d6cd84a44bd0ab828969eb23b4f6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54913198,"asset_id":35052974,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54913198/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35052974"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35052974"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35052974; 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About the importance of the films (the restoration, the content, and the context).<br />It was originally published in 2017 Taipei Film Festival catalog.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2e0a1a7db5d95ab99cf69514277af953" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":53740957,"asset_id":33749092,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/53740957/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="33749092"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="33749092"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33749092; 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Tulis...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Pemerintah dan Aktivis Perfilman Indonesia sedang menggodok "Integrated Box Office System". Tulisan ini mendukung rencana ini dan menegaskan pentingnya data dengan ukuran jumlah pendapatan kotor (gross) dan juga memasukkan data-data film impor, yang bisa diakses publik. Dimuat di Kompas, 18 Juni 2016.<br />Link: <a href="http://findingjakasembung.blogspot.co.uk/2016/06/menuju-integrated-box-office-system.html" rel="nofollow">http://findingjakasembung.blogspot.co.uk/2016/06/menuju-integrated-box-office-system.html</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="3a56fcbf7e270cb2714eea0ab3c0063a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":46878800,"asset_id":26588548,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/46878800/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="26588548"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="26588548"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 26588548; 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Köln, 2013 </span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A glance history of post-Suharto Indonesian cinema. written in German.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f456364589cd579778eaed8a0fe65537" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":32930609,"asset_id":5378009,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/32930609/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="5378009"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="5378009"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 5378009; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="2489116" id="bookreview"><div class="js-work-strip profile--work_container" data-work-id="37916294"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/37916294/Passionate_Revolutions_The_Media_and_the_Rise_and_Fall_of_the_Marcos_Regime_book_review_"><img alt="Research paper thumbnail of Passionate Revolutions: The Media and the Rise and Fall of the Marcos Regime (book review)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/37916294/Passionate_Revolutions_The_Media_and_the_Rise_and_Fall_of_the_Marcos_Regime_book_review_">Passionate Revolutions: The Media and the Rise and Fall of the Marcos Regime (book review)</a></div><div class="wp-workCard_item"><span>Historical Journal of Film, Radio, and TV</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">My take on Passionate Revolutions: The Media and the Rise and Fall of the Marcos Regime (2018) Fu...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">My take on Passionate Revolutions: The Media and the Rise and Fall of the Marcos Regime (2018)<br />Full text: <a href="http://findingjakasembung.blogspot.com/2018/12/passionate-revolutions-media-and-rise.html" rel="nofollow">http://findingjakasembung.blogspot.com/2018/12/passionate-revolutions-media-and-rise.html</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37916294"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37916294"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37916294; 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Daniels</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7cbd65385d979f973fdc1fbf00965bcd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36454718,"asset_id":10400206,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36454718/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="10400206"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10400206"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10400206; 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