Wednesday, September 25, 2013

"Birth of The Living Dead" trailer

trailer of "Birth of The Living Dead":http://firstrunfeatures.com/trailers_birthofthelivingdead.html a documentary on "Night of the Living Dead" (1968).

It is a "the new documentary which explains how and why this film was so revolutionary within the context of both American film and cultural history."

My First Conference as a PhD Student! :)

the Media, Globalisation and Imagination Symposium, Tuesday 1st October 2013,  Thomas Pai
ne Study Center,  University of East Anglia.

14:00     Media and the Global Imaginary: Ideas, Issues and Investigations

Kyriakidou, M (PSI)

Scott, M (DEV)

14:30    Imagining the USA

Avila, R (AMS) Dora the Explorer, Language & American Identity

Brooks, O (PSI) MTV’s Jersey Shore: Guidos, Guidettes and Grenades.

D’Hont, C (AMS)  Fake Fame: Celebrity in Contemporary American Literature

Fuller, S (FTM) Mexico noir: the Mexican spaces of American film noir

16: 00 Break

16:15      Production and reception of trans-national media

Atakav, E (FTM) Television that travels: the Middle East and beyond: A study of the critical reception of Magnificent Century (2011-present)

Harkin, J (PSI) Mediating Syria’s Revolution

Imanjaya, E (FTM) Defining “Crazy Indonesia”: Politics of Tastes, Classic Indonesian Exploitation Cinema, and Global Cult Fandom

Mizsei Ward, R (FTM) Superheroines in Hijab American Rightwing Bloggers respond to the
Islamic Transmedia Franchise, The 99

1745 - Break

18:00      Roundtable and Open Discussion:  Interdisciplinary Approaches to Media, Globalisation and Imagination: Future Directions for Research?

1845 – Finish/Pub!

Friday, September 20, 2013

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