Saturday, July 13, 2013

On (sub)genre and anatomy of Classical Indonesian Exploitation Cinema

Devil's Sword in Japanese version
First, Indonesian exploitation cinema has no specific term to be called. Unlike Mexico (Mexploitation), Canada (Canuxploitation), Latin America (Latsploitation), or Australia (Ozploitation) #crazyindonesia
So I adopt a term from a Greek for Indonesian exploitation in their golden age (late 1970s to early 1990s) = #crazyindonesia
My preliminary mapping: there are 2 types of #crazyindonesia
First: “indigenous” genre (in Karl Heider’s Term), especially Legeda, Kumpeni, and Silat. #crazyindonesia
Sometimes there are mixed subgenres, and it is common in exploitation cinema. #crazyindonesia
Legenda (legend) is a subgenre related to  myth, mystic, and supernatural). #crazyindonesia Nyi Blorong, Nyi Roro Kidul, etc

Kumpeni is about local <super> heroes in Dutch colonial era, commonly with supernatural and magical power: Jaka Sembung (The Warrior) series. #crazyindonesia

Silat is Indonesian martial art films    #crazyindonesia

Those subgenres  are considered as exotic, marginalized,  and unknown to Western cult community. Hence, they became cult and are celebrated by fans. #crazyindonesia

The second type is those  who were made for international tastes,   by adopting subgenres from American exploitation cinema.  #crazyindonesia


Some subgenres: cannibalism, mockbusters, womensploitation, women in prison, zombie). #crazyindonesia

Cannibalism, for example, Primitif, Barry Prima’s first movie. #crazyindonesia

Mockbuster films are rip-off films = Lady Terminator  follows Terminator, Pembalasan Rambu (Intruder) is Rambo wannabe. #crazyindonesia

Women in prison = Virgin from Hell, Kamp Tahanan Wanita etc #crazyindonesia
  

This second type are films for foreign market:  dubbed into English, and some of them using new foreign actors. #crazyindonesia