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Negeri Van Oranje - Movie Quotes - Rotten Tomatoes

It is not always produced merely for entertainment purposes, but also to spread a certain ideology and represent a particular culture. From the analysis, it was found that the gay scenes in negeri van oranje novel film try to tell its audience about the positions, feelings, challenges, and rejections that Indonesian gay people experience living amongst heteronormative surroundings.

The strategy of inserting gay content into a film nationally released in Indonesia is also revealed. Indonesian men caned for gay sex in Aceh. The Critical Study of Language. Analisis Negeri van oranje novel Kritis Model Fairclough. It finds that depictions of Indonesian diaspora have been present since Terang Boelan in and that examples of filmic depictions of diaspora are attested from almost every decade since.

This article concludes that the current tendency to adapt travel writing to film has coincided with mainstream interest in travel writing, and that it differs from previous examples of filmic depictions of the diaspora by drawing on the real-life experiences of authors while still fictionalizing them.

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Diaspora, Indonesian cinema, travel film, travel writing Background of the Study In the early s, several films based on works of travel writing have been produced and released in Indonesia. These films have met negeri van oranje novel commercial success; according to data from filmindonesia.

Clearly, these films, as with the travel writings they are based on, have drawn Indonesian audiences to experience a diasporic life that is otherwise unattainable to most viewers.

Negeri van Oranje / Wahyuningrat [et al.] | National Library of Australia

Producing films based on travel writing has not, however, emerged in a vacuum. Other productions have shaped and continued to shape filmmaking tendencies in Indonesia and around the world.

In recognition of such, this article negeri van oranje novel a thematic history of depictions of the Indonesian diaspora and travel in feature fiction films. It does not limit itself to films based on travel writing, but includes all Indonesian theatrical films which have depicted the Indonesian diaspora or international travel.


This short history is hoped to provide background which can be used by subsequent researchers to further explore negeri van oranje novel and trends in filmic depictions of the Indonesian diaspora. Method This article uses a qualitative research approach, focusing on non-quantifiable elements of Indonesian cinema history.

In other words, this research does not simply count instances negeri van oranje novel filmic depictions of the Indonesian diaspora, but also discusses the intrinsic elements of these films. Data, in the form of presentations of the Indonesian diaspora, has been collected using the library research method.


Sources have included previous research into the history of the Indonesian cinema, as well as contemporary newspaper articles and advertisements for films. Films which were accessible have been watched negeri van oranje novel used for this analysis, while for films which are no longer extant, or which have proven inaccessible, J.

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Kristanto's Katalog Film Indonesia — has been consulted. Data has been analyzed in a contextual manner by presenting the films found as part of a narrative of the history of filmic depictions of the Indonesian diaspora in the Indonesian cinema industry. Findings and Discussion Of the more than 3, domestic feature films produced in the Indonesian archipelago since Loetoeng Kasaroeng innegeri van oranje novel have either shown the Indonesian diaspora or, at the very least, suggested foreign negeri van oranje novel for a variety of purposes.

The earliest film in which there is a suggestion of international travel is the lost Wong Brothers production Lari ke Arabalso titled Lari ke Mekkah Kristanto,p. The first film in which persons from the Indonesian archipelago were depicted as living abroad was Terang Boelan, a production directed by Albert Balink.


In this film, the main characters Rohaya and Kasim elope to Malacca, Malay, and begin building a life. Their time in Malaya is short, however, negeri van oranje novel Rohaya is brought back to the fictional island of Sawoba by her father. The end of the film sees Rohaya and Kasim settling in Sawoba after defeating the smuggler Musa Biran,pp.

In general, films released before focused on domestic migration when depicting travelling. Kekal Abadiin which the character Martini is brought to Singapore for surgery and then returns to Indonesia; Pulangin which the main character Tamin works with the Red Cross in Burma; and Konde Tjiodain which Hasan's traveling to Japan sets his nephew Wijaya in a position to waste Hasan's money and, as such, triggers the main conflict of the plot.

A fourth, Sedap Malamcan negeri van oranje novel added: This relative lack of diaspora in the first decades of Indonesian cinema, understandable in the context of contemporary Indonesian migration patterns and the general negeri van oranje novel of mobility of the populace, is nevertheless still indicative of several tendencies which later became more established.