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"Penelitian ini membahas tentang kemunculan film independen, khususnya film Prenjak. Film Prenjak adalah salah satu dari sekian banyak film independen yang tidak berada dalam lingkaran industri perfilman arus utama . Penelitian ini melihat tentang apa yang melatarbelakangi kemunculan film Prenjak, bagaimana cara film Prenjak bertahan di luar arus utama, dan apa saja pencapaian yang sudah diperoleh film Prenjak sejauh ini. Penelitian ini menggunakan paradigma konstruktivis dan pendekatan kualitatif dengan strategi studi kasus. Hasil dari penelitian ini menunjukkan bahwa film Prenjak muncul sebagai respon dari agen dalam Teori Strukturasi Giddens terhadap kondisi Cultural Industries di perfilman Indonesia. Kemudian film Prenjak dapat bertahan karena adanya dukungan dari beberapa pihak dank arena film Prenjak memang sudah memiliki pasar, baik di dalam maupun di luar negeri. Penelitian ini juga menjabarkan bahwa film Prenjak berhasil mendapatkan banyak penghargaan di festival film internasional dan nasional.

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This study discusses about the emersion of independent films, especially Prenjak movie. Prenjak is one of so many independent films which is not inside the circle of film industry mainstream. This study sees what is the background of the emersion of Prenjak, how Prenjak survive outside the industry, and what are the achievements of Prenjak so far. This study uses constructionism paradigm and qualitative approach with case study as its strategy.

This study shows that Prenjak emerses as a response from agent on Giddens Structuration Theory to Cultural Industries in Indonesian film industry. Also, Prenjak can survive outside the industry because of the support from some parties and also, Prenjak already has markets, both at home and abroad. Lastly, Prenjak has received many awards until now from both international and national film festivals. "

"Tulisan ini memaparkan tentang perkembangan film independen di Indonesia; mulai dari bagaimana awal mula sejarahnya hingga saat ini. Dengan adanya perkembangan teknologi serta bergantinya pemegang kekuasaan pasca Orde Baru, film independen telah bertransformasi sedemikian rupa yang dapat terlihat dari tiga aspek, yakni tema, teknis, dan sumber daya manusia. Semangat reformasi turut memberikan kontribusi ke dalam dunia perfilman independen Indonesia karena memberikan ruang yang lebih luas untuk berekspresi dan berkreasi bagi para penggiat film. Meskipun demikian, pada nyatanya gerakan film independen masih memiliki banyak pekerjaan rumah, khususnya di jalur distribusi dan ekshibisi. Minimnya ruang ekshibisi dan tidak ada lembaga yang melakukan distribusi, menjadikan selama ini distribusi dilakukan oleh aksi-aksi individual para pembuat film independen.

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This paper describes about the development of Indonesian independent film, ranging from how the beginning of its history to the present. The development of technology as well as the change of power holders in Post New Order era enabled the transformation of independent film that can be seen from three aspects, including theme, technical, and human resources. The spirit of reform contributed to Indonesian independent film as it provides a broader space for expression and creativity. Nevertheless, the movement of the independent film still have a lot of homework, particularly in distribution and exhibitions channels. The lack of exhibition spaces and the absence of legal distribution institution caused the distribution of these independent films done by individual acts of the independent filmmakers themselves."

"Film independen adalah label yang sangat kontekstual. Penelitian ini mengkaji Buttonijo yang melakukan produksi kolektif dan distribusi alternatif yang berfokus pada film independen. Lewat studi kasus kolaborasi pembuat film independen dengan Buttonijo, peneliti berupaya menemukenali film independen dan memahami proses produksi kolektif dan distribusi alternatif yang dilakukan. Penelitian ini menemukan bahwa Buttonijo melakukan strategi komersialisasi yang tidak sesuai dengan logika pembuat film independen yaitu kemampuan untuk mempertemukan film dengan khalayaknya. Hal ini menuntut pembuat film independen untuk berstrategi secara mandiri dalam hal 1 pendanaan, 2 produksi, dan 3 pemutaran sebagai hal utama bagi pembuat film independen. Penelitian ini berargumen bahwa film independen adalah sebuah kemandirian dalam membuat film berlandaskan keadaan yang dapat dilihat lewat pilihan-pilihan yang diambil berdasarkan keadaan yang dimiliki oleh pembuat film independen. Sebagai tambahan, peran teknologi juga akan dibahas sebagai dasar logika dan praktik baik bagi Buttonijo maupun pembuat film independen.

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Independent film is highly contextualized label. This study examines Buttonijo that does production collective and alternative distribution focusing on independent film. Through case study of collaboration between Buttonijo and independent filmmaker, this study attempts to identify independent film and understanding the process of production collective and alternative distribution that occurred.

This study shows Buttonijo done commercialized strategy which does not convenient for independent filmmaker in terms of meeting their film and the audiences. This condition encourages independent filmmaker to strategize in terms of 1 funding, 2 production, 3 screening as main focus for them.

This study then argues that independent film is an autonomous attempt to make film based on each condition, which could be examined through their choices. Furthermore, role of technology will also be discussed as primary base for both Buttonijo and independent filmmaker."

"Dunia perfilman Indonesia masih mengalami perkembangan Hal ini terlihat dari beberapa tahun terakhir total jumlah produksi film dalam negeri naik turun begitu pula dengan apresiasi menonton masyarakat. Saat ini para produser film sudah mulai memperhatikan aspek film marketing sebagai media untuk mempromosikan serta menarik minat penonton. Disini akan dilihat salah satu contoh melalui film Comic 8 bagaimana film marketing di Indonesia berjalan sehingga berhasil meraih penonton 1 624 067. Bagian Film marketing mix yakni aktor dan genre film merupakan elemen utama dari suksesnya film Comic 8 Sosial media juga memiliki peran dalam mempromosikan film dengan cara mengunggah berbagai macam materi film seperti foto trailer berita dan berinteraksi dengan penotnon. Promosi yang dijalankan akan menyebabkan buzz sehingga terjadi word of mouth di masyarakat.

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Indonesia film industry is still experiencing growth It is seen from the last few years the total number of domestic film production up and down as well as the appreciation of the public watching. Nowadays film producers have started to pay attention to aspects film marketing as a medium to promote and attract viewers. Here will be seen through the film one example of how the film Comic 8 marketing in Indonesia runs so successfully achieved 1 624 067 viewers. Part of the marketing mix film actor and genre of the film is a key element of the success of the film Comic 8 Social media also have a role in promoting the film by uploading various kinds of film material such as photos trailers news and interact with the audience. Promotions that run causes buzz resulting word of mouth in the community."

"ABSTRAKArtikel jurnal ini bertujuan untuk membahas ARKIPEL ? Jakarta International Documentary and Experimental Film Festival dan kaitannya dengan counter-hegemony terhadap industri film arus utama. Studi literatur atau studi kepustakaan adalah metode yang digunakan dalam mengumpulkan data-data sekunder dalam jurnal ini.Hasil menunjukkan bahwa ARKIPEL dapat dikategorikan sebagai bentuk counter-hegemony terhadap industri film arus utama dari kehadiran Forum Lenteng sebagai intelektual organik yang mengungkap keburukan sistem lama industri film dan memberikan kesadaran baru melalui rangkaian acara ARKIPEL. ARKIPEL menghadirkan ruang publik sebagai wadah untuk berwacana tentang sinema secara bebas dan menawarkan cara alternatif dalam mengonsumsi sinema. ARKIPEL juga membangkitkan kembali sinema avantgarde dengan memutarkan film-film yang mengandung ?semangat melanggar? atas bentuk-bentuk estetika yang sudah baku. Selain itu, isu lokalitas yang diangkat pada film-film yang diputar dalam ARKIPEL menunjukan ekspresi masing-masing budaya yang mampu membangkitkan semangat lokal.

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ABSTRACT

The objective of this journal article is to explore how ARKIPEL - Jakarta International Documentary and Experimental Film Festival relates to the form of counter-hegemony of mainstream film industry. The literature study is used in this journal to collect secondary data.

The result shows that ARKIPEL can be categorized as a form of counter-hegemony from Forum Lenteng?s role as organic intellectuals to uncover the evil systems of film industry and providing new awareness through a series of events in ARKIPEL. ARKIPEL also presents public spaces as a forum to discuss on cinema and provides an alternative way to consume cinema. ARKIPEL resurrects avant-garde cinema by choosing films that contain "spirit to violate" over the standard aestethic forms of film. In addition, locality issues that found in the choosen films can evoke the local spirit by showing the expression of each culture."

"Festival Film Indonesia FFI merupakan sebuah kompetisi antar insan perfilman sebagai wujud apresiasi bangsa kepada para pekerja film dalam rangka membangkitkan sinema Indonesia. Pelaksanaan FFI sempat mengalami masa kekosongan selama lebih dari satu dasawarsa di tahun 1993 mdash;2003. Berakhirnya masa tugas Panitia Tetap FFI serta tingkat penurunan kuantitas dan kualitas film Indonesia telah memengaruhi arus peredaran film dalam hal produksi, distribusi dan eksibisi hingga menjelang era awal masa reformasi. Masa kekosongan tersebut rupanya diisi oleh aktivitas para sineas muda yang mulai berusaha untuk kembali membangitkan produksi perfilman nasional. Keberhasilan para sineas muda dalam mengembalikan penonton Indonesia mendorong FFI untuk hadir kembali di tahun 2004 dengan puncak jumlah produksi film serta prestasi internasional diraih di tahun 2005. Pada akhirnya skripsi ini membuktikan bahwa masa kekosongan berkepanjangan FFI rupanya tidak menyurutkan dan memengaruhi para sineas untuk terus berkarya membangkitkan kembali industri perfilman nasional yang sempat merosot. Skripsi ini menggunakan pendekatan desktiptif naratif melalui 4 tahapan metode sejarah: heuristik, verifikasi, interpretasi dan historiografi.

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This thesis discusses about the revival of the national film industry in the middle of the emptiness Indonesian Film Festival 1993 mdash 2005. Indonesian Film Festival FFI is a competition between film makers as an appreciation of the nation to film workers in order to raise Indonesian cinema. Implementation of the FFI had experienced a period of vacancy during a decade in the years 1993 mdash 2003. The Expiration of the Standing Committee of FFI and the rate of decline in the quantity and quality of Indonesian films have affected the flow of circulation of the film in terms of production, distribution and exhibition of up ahead of the beginning of the reform era. The vacancy period apparently filled by the activities of the young filmmakers who began trying to re generating national film production. The succeded of the young filmmakers in the audience restore Indonesia encouraged FFI to be present again in 2004 and the peak in the number of international film production and performance achieved in 2005. At the end of this thesis proves that the prolonged vacancy of FFI apparently did not discourage and affect filmmakers to revive the national film industry which had declined before. This thesis uses descriptive narrative approach through 4 stages of the historical method heuristic, verification, interpretation and historiography."

"[ ABSTRAKTulisan ini merupakan studi terhadap industri perfilman nasional dalam menghadapi masuknya impor film Hollywood di Indonesia. Kondisi ini kemudian dianalisis melalu sudut pandang regulasi dengan mengidentifikasi sejumlah regulasi yang diterbitkan oleh Pemerintah Indonesia untuk mengetahui apakah kebijakan perfilman yang diterapkan saat ini apakah sudah melindungi kepentingan perfilman nasional; yaitu menciptakan industri perfilman nasional yang memiliki daya saing dalam menghadapi masuknya film impor Hollywood di Indonesia. Sehingga pembahasan dari penelitian ini mencakup; kebijakan tarif bea masuk film impor, kuota film impor, pajak film impor, subsidi terhadap produksi film domestik, persyaratan ijin untuk mengimpor film asing, dan ketentuan minimum jam tayang film lokal sebanyak 60%. Metode yang digunakan dalam penelitian ini adalah kajian literatur. Adapun hasil dari penelitian ini adalah ditemukan sejumlah regulasi perfilman yang ditetapkan oleh Pemerintah, salah satunya adalah UU No.33 Tahun 2009 tentang Perfilman. Kesimpulan dari penelitian ini adalah ditemukannya regulasi yang melindungi perfilman nasional namun terdapat juga kebijakan yang justru melemahkan industri perfilman nasional.

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ABSTRACT

This paper is talking about Indonesia national film industry studies in facing to Hollywood film imported in Indonesia. This situation were analyzed through the implementation of film industry regulation which officialy decided by government of Indonesia according to protecting national film industry needs. This paper will tell us more about tax regulation for imported film , imported film quota, how government subsidized local film production, and screen-time quota for local film in cinema. Furthermore, this paper is literature review methods analysis. Finally, we could conclude that there are some of regulation which support to national film industry protection. In other hand, we found that there also any regulation which potential to make our film industry weakly.;This paper is talking about Indonesia national film industry studies in facing to Hollywood film imported in Indonesia. This situation were analyzed through the implementation of film industry regulation which officialy decided by government of Indonesia according to protecting national film industry needs. This paper will tell us more about tax regulation for imported film , imported film quota, how government subsidized local film production, and screen-time quota for local film in cinema. Furthermore, this paper is literature review methods analysis. Finally, we could conclude that there are some of regulation which support to national film industry protection. In other hand, we found that there also any regulation which potential to make our film industry weakly.;This paper is talking about Indonesia national film industry studies in facing to Hollywood film imported in Indonesia. This situation were analyzed through the implementation of film industry regulation which officialy decided by government of Indonesia according to protecting national film industry needs. This paper will tell us more about tax regulation for imported film , imported film quota, how government subsidized local film production, and screen-time quota for local film in cinema. Furthermore, this paper is literature review methods analysis. Finally, we could conclude that there are some of regulation which support to national film industry protection. In other hand, we found that there also any regulation which potential to make our film industry weakly.;This paper is talking about Indonesia national film industry studies in facing to Hollywood film imported in Indonesia. This situation were analyzed through the implementation of film industry regulation which officialy decided by government of Indonesia according to protecting national film industry needs. This paper will tell us more about tax regulation for imported film , imported film quota, how government subsidized local film production, and screen-time quota for local film in cinema. Furthermore, this paper is literature review methods analysis. Finally, we could conclude that there are some of regulation which support to national film industry protection. In other hand, we found that there also any regulation which potential to make our film industry weakly., This paper is talking about Indonesia national film industry studies in facing to Hollywood film imported in Indonesia. This situation were analyzed through the implementation of film industry regulation which officialy decided by government of Indonesia according to protecting national film industry needs. This paper will tell us more about tax regulation for imported film , imported film quota, how government subsidized local film production, and screen-time quota for local film in cinema. Furthermore, this paper is literature review methods analysis. Finally, we could conclude that there are some of regulation which support to national film industry protection. In other hand, we found that there also any regulation which potential to make our film industry weakly.]"