Berbicara tentang AXEAN Festival, kami mengundang beberapa alumninya, Batavia Collective dan The Panturas, untuk mengulik atmosfer di dalam festival musik tersebut yang seperti konsisten melambungkan nama-nama up-and-coming ke berbagai festival musik besar lainnya di mancanegara.
- Technical elements are not the only things that make a film appealing – the unseen ingredients are equally important (the personal touch and “the soul” of the director) - Music can be the nostalgic element of a film. In other words, it is one of the strongest elements that remind viewers of a movie they had already seen. - Music can change the perception that viewers have towards a particular movie. - However, it is not only music that matters. In fact, a participant argued that it is the absence or presence of certain that make or break the ambience of a film. - There are many different “standards” that determine the quality of films. What is important is not the standard, but the coherence of a movie – that is, the ability of the director to with the - The number of teasers, trailers available prior to the release of a film exists to give viewers visual expectations (as opposed to text, which allows viewers to draw their own “visual” expectations). - On adaptations: The best way to go about them is to perceive and accept books and movies as completely different formats. - While the “mood” of a film can be at the core of a film, one of the participants emphasized on the crucial role of a certain form of structure that can accommodate that mood (so that viewers will not be lost). - The strength of a director’s concept is important. Ideally, she or he ought to have a strong connection with her or his work. This connection can be cultural or emotional. - The editing process of a film – deciding on which scenes to extend, shorten, include or discard – can determine the final outcome, which would then determine the reaction of the audience. - Towards the end of the discussion, participants briefly exchange thoughts on the state of film censorship, including the recent ban of has caused quite a stir among Indonesia movie-enthusiasts. Your feedback would be greatly appreciated, so please feel free to tweet us @wjournal or send us an e-mail to with the subject title “We Discuss #9.”
DJ Jet Baron is credited to be the person who introduced Japan to Funky Kota (Funkot), a dance music genre from Indonesia. He took part in helping create a Funkot scene in Japan, and often visits Indonesia to learn more about the genre's origin and culture. We recently sat down with DJ Jet Baron in Cafe Mondo to talk about his love for Funkot and his experiences introducing the music in Japan.
Rocket Rain, Anggun Priambodo's first feature film that was officially released on March 1, 2014, might not have a plot but it is loaded with themes that are more or less linked to all of us. Written by Tumpal Tampubolon and produced by Babibutafilm in collaboration with buttonijo, the film fuses the concerns of daily life with splashes of surrealism and fantasy.
Here is a list of recommended reads for next week’s Fantastic Film Feast discussion: Southeast Asian Films with Apichatpong Weerasethakul “For me, story is secondary to feelings, and when you try to explain so much you are losing the beauty and locality. When you travel abroad there will be many things you cannot understand. I don’t need to explain that, it is the beauty of differences, accept it for what it is. Film is not a textbook; it is a different form of expression. If you really want to reach a wide international audience, then what kind audience? Because there are so many. Do you want to be a textbook and make everything clear? It depends. For me, I prefer to make the film as much as I want to understand.” Film Craftmanship with Mouly Surya “In my opinion, even though it won’t apply to everyone, I am not talking about feeding the students with bulky theoretical thoughts but there are conventions in filmmaking that people should understand before they start filmmaking. A degree of knowledge has to be learnt to understand a film within the first five minutes of its inception. Think of it as a language. I see film as a language to communicate. Filmmakers need to understand this visual language. I don’t believe in an instinctive filmmaker, moreover I don’t believe in talent. There is basic knowledge about filmmaking that people need to acquire if they are truly interested in their craft.” The Persisting Vision: Reading the Language of Cinema by Martin Scorcese “Now we take reading and writing for granted but the same kinds of questions are coming up around moving images: Are they harming us? Are they causing us to abandon written language? We’re face to face with images all the time in a way that we never have been before. And that’s why I believe we need to stress visual literacy in our schools. Young people need to understand that not all images are there to be consumed like fast food and then forgotten – we need to educate them to understand the difference between moving images that engage their humanity and their intelligence, and moving images that are just selling them something.” Film as Film by Malcolm Thorndike Nicholson “I do not mean to suggest that the critics above are not thoughtful or knowledgeable enough about film as an art. Yet the aspects of filmmaking these critics are ignoring are hardly peripheral. They are as crucial to the effect of a movie as brushstrokes and pigment are to a painting. And remembering the question we began with – in the digital age what is left for a critic to supply? – it makes their absence all the more relevant. It doesn’t follow that critics should suddenly ignore narrative and character development and spend 500 words analyzing camera technique; that would be fatally boring, as well as alienating. But reviewing films as if they are stories that merely happen to be told using a camera can often miss the point. Most importantly, the sort of writing we currently lack can, and has, been done successfully before.” Towards a New Film Criticism by Willie Osterweil “Entertainment reinforces the narcissistic myth of the consumer as master of his own experience: In the movies, a protagonist always wins by making the right choices or loses by making the wrong ones. The important thing isn’t success or failure, tragedy or comedy, it’s the protagonist’s individual responsibility: If he’s crushed, it’s because he picked a fight with an enemy too powerful to overcome. If he finds love, success, and happiness, it’s because he did the right things starting from a level playing field where anyone can succeed. But the individual’s actions provide cover for the systematic processes of alienation and exploitation. By focusing on the film-historical context—the aesthetic idiosyncrasies of an individual film or its connections to other films by genre, crew, or cast—film criticism fails to see the intentions and desires of the film industry, the only active subject in major cinema. In doing so, film criticism colludes with the entertainment industry’s massive project of commodifying experience. By treating entertainment products as a mirror of social experience, film criticism legitimates capitalist alienation while cheapening the possibilities of art. The point is not, however, to become silent. A new film criticism must emerge: By evaluating a film’s methods of production, its place in the film current, and its similarities to concurrently released films on top of its individual contents, film criticism can understand the multiplex’s true ideological effects and reveal new avenues of cinematic pleasure.” Tuesday, March 25, 2014 7–9 pm Kinokuniya Plaza Senayan (near the language section) Jl. Asia Afrika 8 Sogo Plaza Senayan Lt. 5 Jakarta 10270 Please look out for more #WeDiscuss updates on our Facebook page and Twitter account! If you’d like to share your opinions, or if you have friends who’d like to share theirs, sign up via e-mail with the subject title “We Discuss” at ! If you have comments or questions, tweet us @wjournal.
Today's mix features a bunch of a relatively current stuff (current according to me, with the exception of "Children of the Future Age" which is quite old, but whose title is appropriate for an introduction... so uhhh... yeah...). We have a selection from all sorts of different genres, so I hope it will be an exciting mix, or at the very least good background music. Enjoy the show, everyone! 01. That's Why - Children of the Future Age 02. Sinkane - Warm Spell 03. Widowspeak - Harsh Realm 04. Unknown Mortal Orchestra - Swim and Sleep 05. TV Resistori - Puhalla, Tai Halkean! 06. Jatoma - Smoking Keys 07. Aesop Rock - Battery 08. MF Doom - Gumbo (Instrumental) 09. Gang Gang Dance - House Jam (Hot Chip Remix) 10. Olaibi - Kirim 11. John Maus - Streetlight 12. White Shoes and the Couples Company - Runaway Song (Kapaleshwarar Version) 13. Shintaro Sakamoto - Don't Know What's Normal 14. Ken Jenie - Mystery Club
Working as a translator in a game company, Abebe Tinari is a game fan with insight into how games are made. While the term “creator” puts emphasis on the person doing the creating, ultimately the type of games that get made are dictated by sales. It's up to us as players to make sure great games succeed. This is the final part of Abebe's unique series on video games.
Di episode ketiga Direktori, kami berkunjung ke Makassar untuk belajar tentang bagaimana semangat literasi menghidupkan budaya kota juga tentang kebersamaan dalam keberagaman.
These are the inspirations for "Katus" music. Please enjoy.
Lagu-lagu untuk persiapan Pestapora 2023
Lagu-lagu yang menginspirasi EP "NIAT".
Some tunes that reverberate Amerta's concave space.
Ikuti perjalanan Penjelajah Jalan Tikus yang disajikan oleh Feel Koplo.
Berdiskusi mengenai ekosistem terbitan buku foto di Indonesia bersama Aditya Pratama, Daud Sihombing, dan Prasetya Yudha.
Temukan siapa dirimu dan bagaimana karaktermu menentukan arah masa depan.
