![]() ![]() Commonly, these kinds of films are full of strangeness, exoticism, and otherness, according to the perspectives of Western fans. The first one are films that have stories rooted in Indonesian tradition, history, folklores, or storytelling. I argue, based on Heider’s theory, that there are two basic types of classic Indonesian exploitation films. Heider argues that popular genre films are the best examples to do a cultural analysis on since films directed by auteurs or for the purpose of artistic expressions were intentionally detached from their cultural origins. I find Karl Heider’s theories useful to do genre mapping of popular genres, considering that only few scholars wrote seriously and deeply about popular films, let alone exploitation and B-grade movies. Heider suggests various genres and types into which most Indonesian films can fit comfortably (Heider 1991, 39-40). ![]() What films stand out as exemplars of the sub-genres you mention, such as Kumpeni and Perjuangan? Can you explain more about these sub-genres in the Indonesian context? Do they draw upon Western traditions (such as the Italian Cannibal boom of the 1970s, for instance? Are there any sub-genres you think are exclusively generated by Indonesian filmmaking?Īctually, I already wrote about the subgenres in my papers in 20. ![]()
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