Layar Tancap, Bisnis Nostalgia yang Takkan Tergantikan (dokumenter pendek)

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Di tengah gempuran era digital, layar tancap ternyata masih sanggup bertahan. Hiburan rakyat ini tetap diburu oleh penontonnya yang ingin bernostalgia. "Sensasinya itu beda, satu nostalgia, dua merakyat. Sepertinya Layar tancap tidak akan tergantikan karena ada semangat kebersamaan dan gotong royong, " ujar Dr. Ekky Imanjaya, Dosen Jurusan Film Universitas Bina Nusantara, Senin (1/4). Ekky menambahkan, ketika menonton layar tancap penonton bebas berekspresi seperti teriak-teriak, bertepuk tangan tanpa takut malu dibilang norak. "Hal-hal ini yang tidak bisa didapatkan ketika menonton bioskop." Meski tak sesemarak dulu, layar tancap masih banyak ditanggap di wilayah pinggiran Jakarta. Nur Iyan, pengusaha layar tancap sekaligus kolektor ratusan film seluloid 35mm, mengaku dirinya masih menerima order 3-4 kali dalam sebulan. "Di wilayah pelosok masih banyak penggemarnya, walaupun era digital masih ada yang 'nanggep', alhmdulillah sebulan tiga sampai empat 'mah' masuk 'job'," terang Iyan.

Diskusi Siang: Layar Tancap, Film Kelas B, dan Politik Selera Orde Baru

Kamis ini. Alamat: Sudirman Park Office, Jl. K. H Mas Mansyur kav.35. Campus C LSPR. 
(kl g salah dekat city walk, sudirman/fly over)

Some changes for my MECCSA Presentation

Dear all,
I apologize that I have to change the angle of my presentation. The topic is the same (on Layar Tancap, or Mobile Cinema). Here's the new abstract:

See you in Newcastle, 7-9 January!
Full schedule: http://meccsa2015.co.uk/wp-content/uploads/2014/11/MeCCSA2015_draft_programme.pdf

The Significance of Layar Tancap:

 Film Policies and   Mobile Cinema Shows in Indonesia’s New Order Era (1974-1993)

Indonesia’s New Order Government (1966-1998)   is notorious with its state-control of every aspect of life.  In the film industry, the government applied sharp censorship and controlled film production by controlling the script and film bodies as well as distribution and exhibition.  (Sen 1992; Heider 1991, Jufry 1992, Said 1991).
How did New Order and its policies value and deal with the subculture of Layar Tancap (open air cinema) or bioskop keliling (mobile cinema shows)? According to Katinka van Heeren, Layar Tancap shows were out of New Order’s radar until 1993 (van Heeren 2012, 33), the year  the government finally acknowledged and formalized Perfiki (Persatuan Perusahaan Pertunjukan Film Keliling Indonesia, or the Union of Indonesian Mobile Cinema Show)

According to van Heeren and Krishna Sen, although its spectatorship is important to note, but no   specific official policies was applied ; and no   data was collected by The Indonesian Statistical Bureau, for this open air cinema (Sen 1994). The Indonesian Statistical Bureau (PBS, Pusat Biro Statistik) only covered numbers from ordinary cinemas  in the  big cities  (Sen 1994, 72).
By observing New Order’s film policies as well as general and trade magazines, I will investigate van Heeren’s claims above.  I will argue the opposite: Suharto’s government tried to frame this kind of distribution and exhibition cultures, long before 1993, precisely because the villagers were one of their important assets considering that they were the majority of Indonesian citizens.  I will also focus on how the practice and consumption of Layar Tancap and policies of New Order government interact, negotiate, and influence each other.

Next Week: Cine-Excess Film Festival and Conference, Brighton

Next Saturday, I will be  at Cine-Excess to present a paper on Layar Tancap (Mobile Cinema shows), rural spectatorship, and classic Indonesian exploitation cinema. I will have my presentation on Saturday, 15 November, 11.30am-1pm in Panel 6 "Weird World Wastelands" (M2 boardroom).

The full schedule can be downloaded here