Lestari, Umi (2020) Basuki Resobowo as a Jack of All Trades: The Intersectionality of Arts and Film in Perfini Films and Resobowo’s Legacy in Indonesian Cinema. Southeast of Now: Directions in Contemporary and Modern Art in Asia, 4 (2).
Full text not available from this repository.Abstract
Basuki Resobowo (1916–99) is known primarily as a painter, activist and head of Lembaga Kebudayaan Rakyat (Lekra, Institute for People’s Culture). He was affiliated with left-wing politics during Sukarno’s Old Order (1945–65) and first entered the film industry in the 1940s when he played the role of Basuki in Jo An Djan’s film Kedok Ketawa (1940). During the Japanese Occupation (1942–45), Resobowo was part of Keimin Bunka Shidoso (Culture Centre). Literature on Resobowo’s artistic practice has mostly referred to his background in painting. However, in the 1950s, he joined Perusahaan Film Negara Indonesia (Perfini) as an art director and scriptwriter, making seven films, including Darah dan Doa (Blood and Prayer) in 1950, which is regarded as the first film nasional (national film). This article, while devoting some space to Resobowo’s overall career, chiefly endeavours to revisit the early Perfini films and examine the influence of Resobowo’s ideas about art and theatre on cinematographic mise-en-scene. Previous [End Page 313] studies of film nasional have concentrated solely on the narrative aspect of these films, and their visual qualities have been rarely mentioned. With an in-depth reading of Perfini films, this article shows how Resobowo’s multidisciplinary background and ideological inclinations towards realism made a significant contribution to the filmic reality made by Perfini.
| Item Type: | Article |
|---|---|
| Subjects: | 700 Arts and Recreation > 700 Arts > 700 The Arts |
| Divisions: | Faculty of Art & Design > Film & Animation |
| Depositing User: | Administrator UMN Library |
| Date Deposited: | 16 Dec 2021 13:33 |
| Last Modified: | 16 Dec 2021 13:33 |
| URI: | https://kc.umn.ac.id/id/eprint/19718 |
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