This afternoon begins in Zaragoza, Teruel did yesterday, the new cycle Film Classroom University. As every year, come April, Asian cinema continues to explore, adventure that incorporates first Teruel. This course stops at Indonesia, probably the most unknown and less information available, cinematically speaking, of all in those who have been arrested so far. While the total of films made in this country throughout its history is around the 2200 titles, none of them have been released commercially in Spain. This can be seen in the Internet database the Ministry of Culture, where Indonesia is associated only to a co-production with Holland in the seventies. Fortunately, the growing interest of many festivals and the highest quality of production has led to alleviate this situation.
Indonesian film's origins date back to 1926 with Loetoeng kasaroeng, conducted by Dutch directors G. And L. Kruger Heuveldorp. From the beginning, the film-making was linked to the political and historical events in the nation at all times. Thus, after the Dutch colonial era, the industry was funded by the Japanese, who were occupying the territory during World War II and used the film medium as a propaganda tool. After independence, the government of Sukarno (1945-1967) used it for nationalistic purposes, anti-Western, also banning the import of foreign films. The new scheme introduced by Suharto (1967-1998) cinema regulated by a code of censorship to maintain social order. Despite numerous problems, some filmmaker achievement. This is the case of Usmar Ismail (1921-1971), who developed his career mainly from the fifties and sixties.
The eighties was a good time for film in Indonesia, leading to a local popularity thanks to the success of works such as Naga Bonar (MT Risyaf, 1987) or catatonic if boy (Nasri Cheppy, 1989), among others. But in the nineties was re-introduction of foreign films and the quality of Indonesian reduced by competition, especially from the U.S. and Hong Kong. Production declined from 115 titles in 1990 to 37 in 1993, 33 in 1996 and only 7 in 1999. Also contributed to all this country's financial crisis. Most Exploitation films were produced with budgets of series B, mature themes and no virtue. Excel once again got an author, can cite a Slamet Rahardjo (1949), who still working today.
Since the late nineties, coinciding with the onset of post-Suharto era (from 1998), there were new directors who did revive the industry. Names such as Joko Anwar (1975), Hanung Bramantyo (1975), Nia Dinata (1970), Garin Nugroho (1961), active since the early nineties, and Riri Riza (1970). Also began to address issues before business closed as religious, racial or loving. In 2002 the number of bands began to increase reaching 10 titles compared to a minimum of 6 in 2000 and 2001. The increase was equal to the quality and success of new works, highlighting the early years of century films such as What's Up with Love? (Ada ap denga tape?, Rudy Soedjarwo, 2002), Eliana, Eliana (Riri Riza, 2002) or The Gathering (Arisan!, Nia Dinata, 2003).
The cycle presents Classroom Film focuses on this last stage that is slowly raising awareness of the Indonesian film and getting international recognition. As in the past, these films have not been released commercially in our country and therefore named the English titles of their international distribution and are known by these films at festivals and specialized fields.
The sessions will take place in Room Pilar Sinués the auditorium of the University (Paradise Plaza, 4), starting at 19:15 hours and free entry.
full cycle
05/04 Love for Share of Nia Dinata. 120 min. 2006, Indonesia
06/04 Requiem from Java by Garin Nugroho. 120 min. 2006, Indonesia-Austria
11/04 Dead Time: Kala by Joko Anwar. 118 min. 2007, Indonesia
12/04 The Rainbow Troops Riri Riza. 124 min. 2008, Indonesia
13/04 Verses of Love by Hanung Bramantyo. 121 min. 2008, Indonesia
14/04 Merantau Warrior Gareth Evans. 107 min. 2009, Indonesia
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