VIDEO IBRAHIM ANAK BETAWI EPISODE 42

Indeed most programmers I spoke with were among the very small number of Indonesians to have cable television9, which—not unlike the early years of RCTI—is targeted toward expatriates and very wealthy Indonesians who enjoy the largely U. Nielsen, on which all stations rely for viewership statistics, as they poll only in cities, effectively missing over half of the Indonesian population that likely has significantly different media preferences than do their urban brethren. Extreme angles were used, and the film was sped up. An implicit presumption of such programs is that the viewer will be able to make use of the information in a practical manner. Several translators admitted to substituting their own made up lines of dialogue for those they had eliminated. As mentioned in Chapter 2, A. Instead, most in the film industry blame the 21 Group for both monopolizing the cinema industry and striking a deal with Hollywood studios to accept a revenue sharing arrangement instead of the previous licensing fee. With their low ratings, they remain on the air only because certain advertisers wish to target that audience segment specifically.

This led me to 2 The Indonesian film industry went from producing an average of over seventy films a year in the late seventies to fewer than ten per year in the late eighties A. What I took from this discussion, and numerous others that I witnessed in meeting rooms, living rooms, on the set and elsewhere, was that the use of derivation as a tool in production was part of a creative process that took into account many layers of predictive reasoning regarding what audiences would accept and love, but also what the social and political dynamics of commercial broadcasting would allow. Although the history of Indonesian cinema can be usefully recounted as one layer of a political meta-narrative, I found that in my own discussions with filmmakers, government administrations were rarely referenced except as a convenient marker of time, and that the chronicles being recounted tended to focus on formal and narrative developments that bore little relationship to political expression or struggle. What emerged was not a picture of undifferentiated clamoring to incorporate the latest forms or concepts from foreign media, but rather a careful selection and use of these elements that always kept the imagined audience in mind, be it subsections of the national field of viewers, or those closer to home. Whereas with foreign programs the issue is whether to dub or subtitle, with Ketoprak Humor, the issue is simply what language to have actors speak. I did the casting. Spending time abroad, in fact, appeared to be an important prerequisite to success in the industry, less because it may allow the acquisition of specific expertise in some industry- related skill, than through the status it bought within the top-tier crowd of station executives and leading producers, as well as the blunt prestige it bought among those in the industry who had not the opportunity to travel.

You lived there and here, a model, that kind of thing. It will focus on the issues of risk-aversion, global media constellations, and layered authorship practices. Class and Media One of the initial questions that inspired this research was the issue of class distinction in a nation like Indonesia; how would new middle classes distinguish themselves culturally from those less fortunate, and how would it be different than the European model developed by Pierre Bourdieu ; ?

Nielsen, however flawed their statistics are for the country as a whole, appear to respond well to opulent wealth as the normative backdrop to narrative programs like sinetron, television movies and comedies.

Currency amounts were, of course, adjusted to local income standards to create a useful spectrum of wealth levels, but with methods such as focus groups and interviews, tools were largely imported from ana, U.

Nielsen was also forced to operate as Survey Research Indonesia, but had managed to change its name shortly before my fieldwork began in His parents come from the beautiful island Bali Indonesiawho moved to Holland in the 60’s, where Agung was This allowed theorists such as Fiske to wholly dismiss the media text eposode merely grist for the mill of reception, where the recipient created the meanings through her own interpretive practice.

What I took from this discussion, and numerous others that I witnessed in meeting rooms, living rooms, on the set and elsewhere, was episoce the use of derivation as a tool in production was part of a creative process that took into account many layers of predictive reasoning regarding what audiences anqk accept and love, but also what the social and political dynamics of commercial broadcasting would allow. Should we plan on a weekend trip, or could it be weeks and weeks?

Their kitchen is always combined with the living room. Most female television hosts work with male co-hosts.

Because this was a largely investigative research project that did not seek to prove or disprove hypotheses or challenge paradigmatic theory, its findings and conclusions can not easily be summarized into a single point or inserted cleanly into any one area of anthropological scholarship.

This was not limited to the sets and properties departments either, but encompassed the full breadth of production, from the hiring of the most popular stars, to the use of new special effects technologies. This interdisciplinary approach to linguistic inequalities and stratified difference had its basis in the writings of linguists concerned with class-based reproduction of linguistic codes.

It is the function of such languages to facilitate contact between groups without constituting their respective social cohesiveness; and, as a result, communication in these languages tends to be severely restricted to specific topics or types of interaction. Whereas these homes often betray Indian tastes and styles, the office is antiseptically global, just as one would find it in Singapore or London or Los Angeles.

Jun 12, age 42 5′ 9″ 1. At the same time, in Indonesia, producers have engaged a popular New Order discourse of technological progress and materiality, which discredits many forms that appear more culturally quotidian or domestically familiar, associating them with backwardness and marginality. Without the skewing pressures of targeting particular audience demographics within a particular programming context i.

Watching Si Doel – Television, Language and Identity in Contemporary Indonesia

The downward spiral of the stations TPI and AnTeve act as cautionary tales and ongoing reminders that disaster is potentially just around the corner. Sam Wise The Noble Priest.

If we look back to the original motivators behind the inception and expansion of television in Indonesia, under the Sukarno and Suharto presidencies, the fostering of national identity and promotion of the national language—which very few spoke as their mother tongue—are at the top of the list. As in Egypt, this overtly melodramatic and highly emotional style of performance has become the norm in Indonesian soapoperas, winning out, as it were, over the more subdued styles seen in British and American soaps Abu-Lughod Veven Wardhana has noted over a dozen different television programs—most of them foreign—that have been discontinued in Indonesia due to fideo by religious groups, most since Local producers have an interesting relationship to this theme.

This practice is not unheard of in the U.

Watching Si Doel

For example, a host of a certain age and gender, dressing and behaving a certain way in a certain context, using certain language and expressions, may invoke a host of shared meanings to American or British audiences who see her on a National Geographic or BBC travel program, but the same content, disembeded and reconstructed as part of an Indonesian program, may invoke an entirely different group of meanings.

As I have discussed earlier, and will continue to illustrate in this chapter, the field of Indonesian television production relies greatly on media-bound constellations, disembeded from local and global sources that compromise the broad mediascape accessible to producers and programmers. The fear of being perceived as second-tier was highly prevalent among executives at the top stations, who all feared falling into the traps that had brought TPI and AnTeve to failure in ratings and revenue.

To the extent that they symbolize Indonesia, at the superficial level of the culture fair or Discovery Channel documentary, they have indeed been used by producers. Indeed most programmers I spoke with were among the very small number of Indonesians to have cable television9, which—not unlike the early years of RCTI—is targeted toward expatriates and very wealthy Indonesians who enjoy the largely U.

However well the medium did in advancing this agenda before the advent of private TV pushed TVRI into near irrelevance, one must ask how the medium could continue to propagate the national language when so much of its programming comes from abroad. But it is far from uncommon for large scale, national media broadcasters to avoid risky choices in their programming content, indeed it could easily be taken as the norm globally Crane et al As mass media industries in Indonesia become more sophisticated and competitive, fueled by capital from multinational advertisers and large domestic corporations, the struggle for popularity has led producers to make counterintuitive choices.

This is because while the broader industry deals with issues of foreign forms and narratives within domestic production in a less-than-overt manner, MTV must make such decisions quite openly and with great frequency.

But the truth is, with our people, the kitchen is ninety percent separated from the living room. Indeed the showpiece of the broadcast was a music and variety program, which was broadcast live and with few technical mistakes, to the relief of all involved.

I found that there was a fair amount of socialization between agencies, and that those who had studied in Western countries had something of a social clique, which included a few resident expatriates, to which their domestically educated peers were not invited. Nielsen, and have influenced its norms and data collection methods, according to some employees3.

Those who had spent a little time abroad were often quick to tell me about it, and to mention a variety of place names, often under the apparent pretense that I might have visited one of them myself.

It has become the exception that proves the rule. Directed by Rako Prijanto. By defying the conventional wisdom, which at that time held that stripping a program—particularly a non-Western import—would make it look cheap and old, reflecting poorly on the broadcasting station, she 4 able to discover that the public did not share this opinion, and in fact were quickly drawn to the idea of a program whose plot advanced so quickly.

I am not in charge of the talking, the script — other people do that. Indonesia, I was told by many in the advertising industry, is considered a first-rung country: In seeking a connection between the various themes highlighted by this research, I am brought back to that lecture years ago, in which I was told of a Sulawesi family selling antique carvings to buy a television.

In contexts such as these, there were virtually no precedents for the use of such language, and so BIBB has become associated with the medium itself see Oetomowhich greatly expanded the depth and range of social contexts in which viewers could—if nothing else—imagine its use.

Ketoprak is a Javanese theatrical form that dates back to at least the seventeenth century Peacockthough it has changed relatively fluidly with prevailing cultural trends.

Sinetron characters tend to work in clean, modern office buildings, wearing crisp, professional clothing, yet never is it revealed what their jobs are.

Visits to landmarks and points of interest, such as Bourbadour in Central Java, which are not overtly connected to material consumption in any way, are often transformed into shopping excursions, even if the only products available are tourist-oriented souvenirs. What emerged was not a picture of undifferentiated clamoring to incorporate the latest forms or concepts from foreign media, but rather a careful selection and epsiode of these elements that always kept the imagined audience in mind, be it subsections of the national field of viewers, or those closer to home.

This power lbrahim compounded by their relationship to marketing departments, which is often quite close. When Sukarno sought to create a national television station to broadcast Asian Games events from Jakarta inhe turned to the academic community, among others, to operate it.

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