Titlebook: Cultural Specificity in Indonesian Film; Diversity in Unity David Hanan Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Anth

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he time Indonesia achieved independence from Dutch colonialism in 1949. Hanan explores the foundational concepts of the new nation, summarized in the national philosophy of . first promulgated in 1945 in writings by Sukarno. Hanan also outlines five phases of the nation’s history since independence,

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role of Chinese Indonesians as producer/directors of the majority of the films made in the colonial period, and also survey the period of the Japanese occupation (1942–45), when film production was controlled by the Japanese. Later sections explore the main phases of production since the achievement

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s, it is not the individual psyche (as in films by Bu?uel), nor even the individual body (as in films by Maya Deren), but multiple bodies organized as a group, that is most distinctive. This is demonstrated in Gotot Prakosa’s . (1979), Sardono W. Kusuma’s . (1993) and Garin Nugroho’s . (2000). The c

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