{"id":56267,"date":"2025-11-10T04:02:10","date_gmt":"2025-11-09T21:02:10","guid":{"rendered":"https:\/\/ffd.or.id\/?post_type=film&#038;p=56267"},"modified":"2025-11-10T04:02:10","modified_gmt":"2025-11-09T21:02:10","slug":"turang-and-cinema-of-new-emerging-forces","status":"publish","type":"film","link":"https:\/\/ffd.or.id\/en\/film\/turang-and-cinema-of-new-emerging-forces\/","title":{"rendered":"Turang and Cinema of New Emerging Forces"},"content":{"rendered":"<p>Khrisna Sen is an important figure in the history of Indonesian cinema. Her book, <em>Indonesian Cinema: Framing the New Order<\/em> (1994), or in its Indonesian translation by a publisher, <em>Kuasa Dalam Sinema Indonesia: Negara, Masyarakat &amp; Sinema Orde Baru<\/em> (Power in Indonesian Cinema: State, Society &amp; New Order Cinema), was the main and only reference at the time for readers of Indonesian film studies who wanted to learn about the period that was omitted by the New Order from Indonesian film history: the history of leftist cinema. In one chapter of the book, Krishna Sen examines two Indonesian directors, Usmar Ismail and Bachtiar Siagian, in the tension between \u201cindividuality\u201d and \u201cmass\u201d (citizens), or between the dramatic conflict in the hero&#8217;s mind and its solution and the emotional experience of \u201cmaterial\u201d individuals with the masses in a revolutionary situation leading to public action. Krishna Sen is also the only film scholar who met and interviewed Bachtiar Siagian and other leftist filmmakers directly. The audio archives of these interviews are now an important source of knowledge in the context of film archives that were destroyed by the New Order regime.<\/p>\n<p>&nbsp;<\/p>\n<p>In interpreting Bachtiar Siagian\u2019s works, Krishna Sen does not immediately associate them with the third cinema movement, which is considered unable to fully capture the radical momentum in Indonesian cinema. For him, the radicalism of Indonesian cinema needs to be defined in the context of the domestic political constellation and cannot be interpreted in general terms in relation to Hollywood, global culture, or capitalism. In an interview with Krishna Sen, Bachtiar Siagian stated that socialist realist cinema cannot be learned from secondhand sources in books, but rather through the development of social practices. This adds a unique perspective to the discourse on the history of Indonesian cinema, which had its own elements in responding to the global cinema phenomenon of its time.<\/p>\n<p>&nbsp;<\/p>\n<p>Bunga Siagian developed Krishna Sen\u2019s proposal through her project, Sinefo (Sinema of Emerging Forces), as a way of reading the trends in cinema that developed after the Asian-African Conference, as well as the precedent for third cinema. A cinema that was born alongside the birth of a new independent nation, mass-oriented, and rooted in the dynamics of transnational anti-colonial networks. In this lecture, <em>Turang<\/em>, that has just returned to its social context, will be the gateway to creating and understanding what cinema of new emerging forces is.<\/p>\n<p>&nbsp;<\/p>\n<p>Photo \u00a9\ufe0e <em>Turang<\/em> (Bachtiar Siagian, 1957)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Khrisna Sen is an important figure in the history of Indonesian cinema. Her book, Indonesian Cinema: Framing the New Order (1994), or in its Indonesian translation by a publisher, Kuasa Dalam Sinema Indonesia: Negara, Masyarakat &amp; Sinema Orde Baru (Power in Indonesian Cinema: State, Society &amp; New Order Cinema), was the main and only reference [&hellip;]<\/p>\n","protected":false},"featured_media":55745,"template":"","edition":[781],"program":[818],"class_list":["post-56267","film","type-film","status-publish","has-post-thumbnail","hentry","edition-ffd-2025-en","program-doc-performance"],"acf":[],"_links":{"self":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/film\/56267","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/film"}],"about":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/types\/film"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/media\/55745"}],"wp:attachment":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/media?parent=56267"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/edition?post=56267"},{"taxonomy":"program","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/program?post=56267"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}