I would like to thank the CNWS (School of Asian, African, and Amerindian Studies), and the Netherlands Organization for Scientific Research (NWO) for their financial support for the field research on which this article is based. This paper considers some of the changes in the understanding of genres and formulas within horror films, and discusses modes of representation and constraints in choices of subject matter in narrative practices in contemporary Indonesian cinema.ġ.
Five to six years after 1998, it is apparent that besides changes, there are also many continuities: many old film institutions and structures for film production, distribution, and exhibition are still in place, and topics of discourses often recall past discourses of the New Order period or those held in the newly independent 1950s. The rise of new film genres and changes in concepts about existing genres and formats took place, new discourses emerged, and different communities and institutions arose that identified themselves with certain film genres or which used the medium of film for particular means, such as a medium for advocacy of human rights issues. During Reformasi (1999–2001), the rules and regulations of cinema authorized under the New Order government of President Suharto began to be contested and re‐negotiated. In about half a decade since May 1998, changes have taken place in the content, production, distribution, exhibition, and discourse of Indonesian cinema.
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