Documentary and Web Series Panel

Exploring women filmmakers in documentaries and web series

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Analisys of Women and Documentary Film in Indonesia

Novasari Widyaningsih
Researcher and film teacher, active between Klaten and Surakarta
Institut Seni Indonesia Surakarta
novasariwidyaningsih@gmail.com
The percentages of women working in Indonesia as directors on documentary films reached historic highs in 2017-2019. Women working in this role on the lists of Indonesian Oscars (Festival Film Indonesia) experienced a tremendous increase from on the average 1 director in 2007-2016 to 5 directors in 2017- 2019. It indicates that 2017-2019 were years of change for female directors. Despite these gains, it is important to note that documentary film production employed more than twice as many men as women (64,86% vs. 23,5%) in key directing roles. This study provides employment figures for feature-length as well as short documentary film competitions from 2006 through 2019 at Indonesian Oscars. Data collection in this research was carried out through archive studies, observations, and interviews.
The results of this study indicate that the gap is based on various factors for instance, the domination of patriarchal stereotypes; lack of networking which affects access and employment opportunities; competitive struggle to secure funding up to other economic factors; unlimited work space and work time; women’s commitment towards family and work; work safety factor; film release and publicity issues; and fewer interest in film production; thus making Indonesian women reluctant or more difficult to enter the documentary film industry. Women were most prominent in producer and director role, but concluded that the vast majority of key production personnel in the Indonesian documentary film industry are remain men. Overall, while it is clear that there has been some progress for female directors recently, it is imperative that some actions can be develop to increase the number.

Keywords: Women and Film, Documentary, Indonesian Film
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Women and Documentary Filmmaking in Indonesia

Eric Sasono
Film Scholar and critic, lives in London
King's College London
ericsasono@gmail.com
This paper intends to see women in documentary filmmaking in Indonesia. The scope of this paper is filmmaking on post-1998 era, where the situation of filmmaking has changed due to easing in filmmaking license requirements in Indonesia that came with political changes in 1998.
I acquired the data in this paper from a research for the doctoral thesis in the Department of Film Studies, King’s College London. In that research, I explored documentary film culture in Indonesia after 1998. The doctoral research was focused on three non-profit institutions engaged in documentary film in Indonesia, namely the Indonesian Documentary Film Center (In-docs), Yogyakarta Documentary Film Festival (FFD) and Watchdoc Documentary Makers. The method I use is observation of some of the activities of these organizations over a period of time, and interviews with some of the organizers of these institutions and their filmmakers.
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Srikandi in Documentary, Case Study: Recording Pandemi, Asosiasi Dokumentaris Nusantara

Dara Bunga Rembulan
Academic, documentary filmmaker, film activist, lives in Bandung
Institut Seni Budaya Indonesia Bandung
darabungarembulan@gmail.com
In 2020, the Asosiasi Dokumentaris Nusantara (Archipelago Documentary Association) is running the Recording Pandemic Program, a movement of 300 documentary filmmaker documenting the significant social and cultural changes of the Indonesian people in the face of a pandemic. Tonny Trimarsanto, chairman of the Association, said that this program at least represented an audio-visual way of speaking which is very rich in Indonesian culture. Interestingly, the works of female filmmakers who took part in the program show their closeness to their themes, regions and the potential to generate achievements. The number of female filmmakers participating in the Pandemic Record program is still very limited, but this has not dampened their desire to work. The selection of female filmmakers in the TVRI Pandemic Record Omnibus program is an evidence of the achievements and potential of female filmmakers. These potentials include “multitasking”, having a more feminist point of view, feeling and instinct, as well as being close to the themes raised.
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Webisode for Indonesian Female Filmmakers: A Case Study

Ratna Erika M. Suwarno
Academic and filmmakers, lives in Bandung
Universitas Padjadjaran
ratna.erika@unpad.ac.id
One of the new and popular formats for Indonesian directors in the last decade is webseries, or webisodes. By focusing on two webisodes directed by Sammaria Simanjuntak, an Indonesian female director, in this paper I intend to discuss the significance of free webisodes and digital platforms for Indonesian female directors. This paper will also discuss some examples of the Sammaria webisodes. At the end I will also try to give a small conclusion about the existence and visibility of female directors on the YouTube digital platform in relation to their career progression in the Indonesian film industry. YouTube as a space for digital video has grown from being a grassroots platform for independent, low-cost and themed films, to becoming one of the main channels of distribution and experimentation space for short films. With the increasing internet access for communication service users in Indonesia, YouTube is still a popular platform today.
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Discussion

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3 Responses

  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. 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. We also expect for policy recommendation and action plan related to this research.

  2. Apa alasannya memilih jenis film dokumenter yg dibahas? Krn jenis film itu banyak. Dan kenapa wanita lbh bs dijadikan role model ktk mnjadi sineas d film dokumenter? Kan kl menjadi sineas di film lain jg sbuah prestasi.. Istimewanya apa ya?
    Terima kasiih..

    1. Yth.Fatma Zaini
      Terima kasih atas pertanyaanya. Alasan saya memilih jenis film dokumenter yakni karena film dokumenter masih belum menjadi genre film yang diminati di Indonesia, dan penelitian mengenai topik ini belum ada. Penelitian ini bertujuan untuk menganalisis kesenjangan jender wanita dalam produksi film dokumenter di Indonesia. Meskipun di Indonesia film dokumenter telah mulai menunjukkan eksistensinya, terlihat ada masalah yang mendasar yakni masih dominannya sineas laki-laki pada produksi film dokumenter hingga saat ini. Hal ini mengindikasikan bahwa produksi film dokumenter masih belum inklusif jender dimana produksi film masih dianggap sebagai pekerjaan maskulin. Selain itu penelitian ini juga menemukan bahwa terdapat beberapa faktor lain yang mempengaruhi perempuan untuk terlibat dalam pekerjaan ini.
      Maslah inklusifitas jender pada produksi film di Indonesia harus ditangani dengan baik diawali dengan penelitian yang kredibel sehingga rujukan kebijakan yang diajukan peneitian ini diharapkan dapat menjadi solusi dari masalah yang ada. Dengan dipecahkannya masalah mendasar tersebut, tentunya akan berdampak positif terhadap beberapa aspek mulai dari ekonomi, sosial, politik hingga budaya.
      Pada akhirnya, dengan adanya penelitian ini harapannya kedepan ekosistem film dokumenter dapat lebih berkembang dan memenuhi asas kesetaraan jender, sehingga para perempuan juga dapat memperkuat dan memperkaya bentuk keragaman dan prespektif karya film di Indonesia.

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