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Indonesian Cinema after the New OrderGoing Mainstream$
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Thomas Barker

Print publication date: 2019

Print ISBN-13: 9789888528073

Published to Hong Kong Scholarship Online: May 2020

DOI: 10.5790/hongkong/9789888528073.001.0001

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PRINTED FROM HONG KONG SCHOLARSHIP ONLINE (www.hongkong.universitypressscholarship.com). (c) Copyright Hong Kong University Press, 2021. An individual user may print out a PDF of a single chapter of a monograph in HKSO for personal use.date: 26 July 2021

Conclusion

Conclusion

Indonesian Cinema as Pop Culture

Chapter:
(p.208) Conclusion
Source:
Indonesian Cinema after the New Order
Author(s):

Thomas Barker

Publisher:
Hong Kong University Press
DOI:10.5790/hongkong/9789888528073.003.0009

By way of conclusion, this chapter considers the legacies of two dominant modes of thinking about Indonesian cinema. National cinema placed its hopes in artist filmmakers who as the last two decades have shown, does not reflect the career trajectories of contemporary ‘idealist’ filmmakers. Secondly, it considers the more recent ‘creative industries’ policy agenda expanded under the Presidency of Jokowi. Given the track record of government officials and corruption, filmmakers will remain wary of policy and government. It suggests that by understanding cinema as pop culture, and the importance of the market, can we better understand the emergence and development of Indonesian cinema.

Keywords:   idealism, artist, national cinema, creative industries, corruption

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