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Career Panel

Exploring career paths and challenges for female filmmakers.

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Women in the Camera Department: A Bid to Record Career Paths

1.) Amalia Trisnasari, S.Sn; 2.) Agasta Ariani, S.Sn; 3.) Julita Pratiwi, S.Sn
1.) Cinematographer, lives in Jakarta; 2.) Cinematographer, lives in Jakarta; 3.) Film researcher, lives in Jakarta.
Institut Kesenian Jakarta
1.) amalia.ts.dp@gmail.com; 2.) agastaariani09@gmail.com; 3.) pratiwij@gmail.com
Camera Department is identical with a male domination since the very beginning. This department involves heavy camera and lighting equipment which are uneasy to carry around – giving impression of ‘ female unfriendly department.’ Besides, there are several women that decided to have a career in this department. They attempted to reexamine the impression which has been constructed by the film society. This essay tries to record the career path of several females in the Camera Department in Indonesian Film Industry. Are there any certain issues that affected their career path?

Keywords: Female Film Workers, Camera Department, Cinematography, Film Industry
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‘Balancing the Male Gaze’ to ‘Motherhood Filmmaking’: a Retrospection of a Female Actor

Sekar Sari
Female Actor, researcher, lives in Yogyakarta.
University of Roehampton
sekarsasha@gmail.com
Women in Indonesian film screens have come in quite diverse shapes and characters. A number of film titles also confirm that women have been a source of inspiration for stories, ranging from Tiga Dara (1957) to Athirah (2016) for example. However, most of the number of films with female central characters are produced by male directors. For that reason, it is interesting to ask questions: how is the process behind the scenes of film production that involves women as the main character but processed by male directors? How is the role of women in the production? Does Indonesian film production always side with the male point of view of ‘the male gaze’ and what are the efforts of female actors to compensate for this patriological point of view? Do female actors have space in the creative process or are their scope limited like a puppet that follows the path of the puppetmaster?

This paper is a reflective note of Sekar Sari as an actor who has been involved in a number of productions with both male and female directors, both with Indonesian work teams and joint production teams across countries. This experience helped her gain diverse perspectives and made her aware that there were a number of options that could be applied to support gender inclusiveness. From the approach of an actor who entered the screen, discussion about women in Indonesian films also really needs to pay attention to how the environment and work processes behind the scenes have a lot of stigma and need to be considered together so that they do not always revolve in the same pattern.
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Career Trajectory of Gina S. Noer

Nella Putri Giriani
Researcher, graduate student at the Faculty of Cultural Studies, Universitas Indonesia, live in Jakarta.
Universitas Indonesia
nellaputri1@gmail.com
This study analyzes the career trajectory of female filmmaker Gina S Noer, with genetic structuralism approach by Pierre Bourdieu, utilizing his theory of the arena of cultural production. This paper seeks to understand her struggle in the arena of the Indonesian film industry. The study expects to see the social reality of a female film worker when producing their work. The research data were obtained from mass media documentation, film catalogs, interviews, and literature study. The researcher also examined Noer’s works to understand her ideology of gender, and her strategy to gain authority from various groups in Indonesian society. The paper finds that Noer was able to achieve legitimacy and authority through her achievements and practices in the film industry.

Keywords: Gina S. Noer, arena, trajectory, strategy, film making
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1 Response

  1. Kami mengundang rekan-rekan sekalian untuk berdiskusi dalam panel ini. Diskusi dapat diajukan dalam bentuk pertanyaan maupun pernyataan, baik kepada para panelis, maupun kepada KAFEIN selaku peneliti dalam proyek Pengumpulan Data Jender Terpilah. Silakan tulis nama pembicara tertentu dalam panel ini untuk menanggapi. Kami juga berharap, para rekan untuk dapat memberikan rekomendasi terkait arah riset dan kebijakan dalam tema ini.

    We invite colleagues to discuss in this panel. We welcome any questions and comments, both to panelists and to KAFEIN as a researcher in Gender-Disaggregated Data of the Indonesian Film Industry. Please write the name of a particular speaker in this panel to respond if needed.We also expect for policy recommendation and action plan related to this research.

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