History of Indonesian Cinema - Quiz 2

The first film made in Indonesia was a silent film titled?

• Terang Boelan

• 3 Dara

• Darah dan Doa

• Loetoeng Kasaroeng

Answer explanation

The history of Indonesian films begins with the first film made in Indonesia, namely Loetoeng Kasaroeng which is a silent or silent film.

In 1970-1980 the figure of Imam Tantowi was known as?

• Author

• Producer

• Editor

• Art Director

Answer explanation

Imam Tantowi is a leading screenwriter of the film exploitation era in Indonesia. Some of them got nominations, even won, awards image trophies. One of the things he wrote was Ratu Ilmu Hitam, Jaka Sembung,

One of the films by Usmar Ismail, EXCEPT?

• Lewat Djam Malam

• Bintang Ketjil

• Darah dan Doa

• Enam Djam di Djogja

Answer explanation

Usmar Ismail is an Indonesian literary and film director who is of Minangkabau descent. He is considered an Indonesian citizen, a film pioneer in Indonesia. One of Usmar Ismail's films is Lewat Djam Malam, Darah dan Do’a, and Enam Djam di Djogja.

The first national film to considered as produced and directed by Indonesians was?

• Dosa Tak Berampun

• Darah dan Do’a

• Djambuk Api

• Lagi-Lagi Krisis

Answer explanation

Darah dan Do’a film is the first film to be produced and directed by Indonesians, as well as shooting locations that are fully done in Indonesia.

The second film directed by Usmar Ismail produced by PERFINI is film?

• Daun di Atas Bantal

• Salah Asuhan

• Enam Djam in Djogja

• Lewat Djam Malam

Answer explanation

Enam Djam in Djogja is an Indonesian drama film released in 1951. This film is the second film produced by PERFINI. This film gained huge success in Indonesia and continued to be aired on TVRI until the 1980s.

A 1998 film focusing on the character of young people in the Metropolitan city of Jakarta, with MTV style.

• Catatan Si Boy

• Boneka Dari Indiana

• Gadis Penakluk

• Kuldesak

Answer explanation

Kuldesak is one of the important films in the early years of post-Soeharto era. Researcher Joanna Sharpe writes that Kuldesak is widely hailed as the first in the recent wave of independent productions, which are self-funded and filmed on the sly ‘guerilla style’ without the necessary state permits (Sharpe 2008). Indonesianist Katinka van Heeren mentions the film as the first independent films movement, dealt with the problems of middle class Jakarta youth—drugs, homosexuality and the feeling of absolute desolation—and “… It appeared to be too revolutionary even for reformasi” because there is a kissing scene between boys that soon got censored (Heeren 2008).

Films produced by groups of idealist filmmakers in the 1990s except?

• Taksi

• Badut-badut Kota

• Sri

• Tembok Derita

Answer explanation

There were only few films produced by the idealist group of filmmakers in the 1990s, such as Taksi (Taxi, Arifin C Noer, 1990), Sri (character’s name, Marselli, 1997), Telegram (Slamet Djarot, 1997), Badut-Badut Kota (City Clowns, Ucik Supra, 1993) and Cemeng 2005 (The Last Prima Donna, N. Riantiarno, 1995). Taksi and Badut-Badut Kota contained representation of the hard life in Jakarta for common people, taxi driver and clown, respectively. Cemeng tells the story of the harsh life of a traditional performing art group in modern era, set in a city in Central Java. But it is Garin Nugroho who becomes the prolific director and directed Letter to an Angel in 1993, And the Moon Dances in 1994 and Leaf on a Pillow in 1997.  Source: http://findingjakasembung.blogspot.com/2016/01/idealism-versus-commercialism-in.html

the following filmmakers  signed the I-Sinema Movement that was formed after the 1998 Events, EXCEPT:

• Nia Dinata, Joko Anwar, Rudi Sujarwo

• Riri Riza, Nan Achnas, Richard Buntario

• Sentot Sahid, Mira Lesmana, Yato Finoyuala

• Enison Sinaro, Ipang Wahid, Teddy Soeriaatmadja

Answer explanation

The other important terminology is I-Sinema, an aesthetic movement founded after May 1998. This movement has as it base a manifesto signed by thirteen young filmmakers: Riri Riza, Nan Achnas, Richard Buntario, Sentot Sahid, Mira Lesmana, Srikaton M, Enison Sinaro, Ipang Wahid, Teddy Soeriaatmadja, Dimas Djayadiningrat, Rizal Mantovani, Jay Subyakto and Yato Fionuala. They made a manifesto: “we trust and support each other. Synergies of creativity, spirit of explorations, aesthetical achievements, variety of themes and stories, all to give new colors to films.