Indonesia on screen: Waiting for the extraordinary by Iwan Setiawan, Contributor, Jakarta | Headlines | Sun, December 30 2012
The Indonesian film industry might be enjoying a mini boom with more films being produced this year, but the main problems - a declining number of viewers, limited cinemas and promotion, as well as poor quality film festivals - still persist.
According to government data, the number of commercial films produced this year reached 86 titles, an increase from the 82 titles last year.
But more films do not mean more viewers. In the first half of this year, the 46 films screened only had 7,952,203 viewers, or down from the 7,993,081 viewers watching 43 films in the same period last year.
On average, this year's attendance figures were topped by several films, such as action flick The Raid, which garnered over 1.8 million viewers; Negeri 5 Menara (Country of Five Towers), which attracted 766,425 viewers; or 5cm, which reached some 500,000 viewers even though it only played for less than a week in theaters.
These numbers may sound good but they are not satisfactory, especially when compared to the 1990s when film viewers reached some 312 million in a year.
Film producer Sheila Timothy, whose company Life Like Pictures produced Modus Anomali this year, blamed rampant piracy, rising ticket prices and social conditions, such as traffic congestion, for the decline in the number of viewers.
"And there's a decline in public confidence in the quality of local films," she says.
Starvision's Chand Parwaez, who this year produced Hanung Bramantyo's Perahu Kertas (Paper Boat) which is based on an adaptation of a novel of the same title by singer-turned-writer Dewi "Dee" Lestari, attributed the decline in confidence to the number of producers who merely sold sensation, not quality films.
On average, few films made this year were extraordinary.
"Except for The Raid, no Indonesian films are extraordinary enough to excite people and make them go to the cinema," said noted filmmaker Mira Lesmana of Miles Film. "So the decline in attendance can definitely not be solely blamed on the audience."
Other problems also lurked, from limited budgets to promotion to the limited number of movie theaters.
"The limitation of funds is because most money is spent on production. Promotion gets a relatively small quota," said film publicist Ade Kusumaningrum.
Mira explained that of a total production cost of Rp.8 billion (US$ 830,000) for a movie, around Rp.3.5 billion went on promotion. For a film like Sang Pemimpi (The Dreamer), which costs Rp.12 billion to make, Rp.4 billion went on promotion.
Movie observer Hikmat Darmawan pointed to the limited number of cinemas and their location inside shopping centers as another reason for the decline in film audiences.
"Increase the number of theaters and spread their location. The quality of the cinemas does not have to be as good as it is now but the most important thing is they should open up opportunities for more people to come and watch films," he said.
Laskar Pelangi (Rainbow Troops), for instance, traveled around many places to allow more people to watch. "Our population is around 250 million and not all of them are comfortably off and able to watch a movie in the malls," Mira says.
In many big cities, especially Jakarta, most movie theaters are found inside shopping malls to cater to those who, with the change of lifestyle, want to enjoy entertainment while doing other activities.
"Cinemas that stand alone, unless their location is very good, tend to get less visitors," explained Catherine Keng, corporate secretary of 21cineplex cinema chain.
On the other hand, competition remains stiff with foreign films continuing to flood movie theaters in the country.
Catherine said 21cineplex screened at least two Indonesian films every week, such as the recent showing of the restored classic Indonesian film - Usmar Ismail's Lewat Djam Malam (After the Curfew) - and provided room for the activity of Kineforum, a nonprofit cinema organized by the Jakarta Arts Council.
This year also saw the government-sponsored Indonesia Film Festival become the subject of controversy rather than prestige, from the reputed Rp 16 billion to stage the festival, which several observers felt was not comparable with the perceived quality of the results and the winners of its Citra Award.
Tourism and Creative Economy Ministry director general for cultural values, arts and film Ahman Sya said the government might have a small role in the industry but this year, it had taken a number of important steps, such as holding the film festival, financing films it considered worthy and mapping the film industry.
However, Hikmat pointed out that the Indonesia Film Festival failed to take into account the industry's prominent developments, such as a lack of attention to the number of film productions, the presence of omnibus films and the phenomenal showing of Lewat Djam Malam.
A promising development for film appreciation came from social media with the launch of the Twitter community's @film_indonesia, which came out with the Maya Award.
Unlike the Citra Award, Maya Award winners were selected by 100 members of a jury who came from a variety of backgrounds, said Rangga Wisesa, the event's chairman. "The event aims to support the country's creative economy, especially the growth of an Indonesian film industry that is still searching for its identity and character," Rangga says.
Arie Untung : Film Indonesia Can Equating Hollywood and Europe : http://www.iberita.review/berita/arie-untung-film-indonesia-bisa-menyamai-hollywood-dan-eropa/4952374, 21 December 2015
The world's film industry in Indonesia increasingly advanced. Not only in terms of story, but the packaging intact a film production in the country was already recognized by the world, such as the film The Raid, A Copy of My Mind, Daun di Atas Bantal, Laskar Pelangi, Jalanan, and more. Versatile artist Arie Untung did not deny it.
The ability of filmmakers and actors from Indonesia can already be considered world class. In fact, some of which participate in the production of Hollywood films. However, the technology to support the production process of a film in Indonesia is still less than the European and Hollywood. According to Arie, Film Indonesia has the same capabilities, constraints in Indonesia's only a matter of time and funds.
Private Film and Video Production and Distribution in Indonesia
Indonesia Industry Report and Market Research
March 26, 2024
Industry Code : P96211
Forecast to : 2028
Definition
Private Film and Video Production and Distribution in Indonesia This industry consists of establishments mainly engaged in making and distributing films and videos for screening including casting, processing, editing, subtitling, as well as making films for television and the provision of services related to distributing films and operation of film booking agencies.
Activities
The primary activities of firms in this industry are:
The Private Film and Video Production and Distribution industry in Indonesia research report contain trend analysis, statistics, market size information, industry growth rates as well as major competitors.
Major market segments are identified and also those forces affecting demand and supply within this industry. Performance analysis includes emerging industry trends as well as recent results and performance of each key company. Drawing on the depth of information DIS also provides 5 year forecasts for this industry.
The comprehensive study also examines details such as the barriers to entry, operating cost structure, technology & systems and domestic & international markets. Tables and statistics include: Industry revenue, exports, imports, wages and number of companies in the industry, Industry growth and geographic regional data.
The key indicators for the industry for last five years are provided here, and include: • Industry Revenue • Industry Value Added • Employment • Establishments • Exports • Imports • Domestic Demand • Total Wages
Market Size
This section gives the size of the domestic market and the size of the export market for each industry.
Linkages
This section lists the industry"s major supplier and its major customer industries, with SIC"s (KLUI) for easy reference.
Demand Determinants
Lists the key factors which are likely to cause demand to rise or fall.
Domestic and International Markets Exports
The trend for the size of exports (are they increasing, decreasing, not changing) and the trend for the size of exports as a proportion of turnover. The size of the domestic market (domestic demand) and the proportion of this accounted for by exports Imports
Outlines the trend for the size of domestic demand and the trend for imports as a proportion of domestic demand States the size of the domestic market (domestic demand) and the proportion of this accounted for by imports Analysis
Domestic and international markets defines the market for the products and services of this industry, both locally and in other countries. This outlines: the size of the domestic market (domestic demand) and the proportion of this accounted for by imports, the key countries from which imports are sourced (with percentage and relative size if available), the trend for the size of domestic demand and the trend for imports as a proportion of domestic demand, the size of turnover and the size of exports as a proportion of turnover, the key export destinations (percentages and relative importance of these, if available, the trend for the size of exports (are they increasing, decreasing, not changing) and the trend for the size of exports as a proportion of turnover.
Basis of Competition
Gives the key types of competition between firms within the industry. It also highlights competition from substitute products in alternative industries.
Products and Service Segmentation
This details the key products and/or services provided by this industry. Wherever possible, we include an indication as to which of these are the most important to demonstrate which have a more significant influence over industry results as a whole.
Major Market Segments
The key client industries and/or groups are detailed here. Wherever possible, an indication as to which of these are the most important is included. This will highlight the client groups that are most important to the industry. Trends in these client groups may have an important impact on the demand for products and services provided by the SIC, hence they may be important to monitor suggested links
Industry Concentration
This is an indicator of how much industry turnover is accounted for by the top players.
Geographic Spread
This is a guide to the regional share of industry turnover/gross product. DIS calculates this on the basis of turnover or production, however, the number of establishments may be used as a proxy where these are not available.
Barriers to Entry
This section outlines factors that can prevent a new company from entering the industry and will also give an indication of the extent to which this occurs.
Taxation
Taxation refers to all kinds of taxation that are specific or are particularly important to an industry. This includes taxation concessions.
Industry Assitance
Assistance refers to government and/or other measures in place designed to improve the performance of the industry or sections of the industry. (eg grants, subsidies)
Regulation and Deregulation
Where licenses are required to operate in an industry, these will be noted here. Where possible, details regarding the degree of difficulty in obtaining a licence are included. Important issues relating to regulation and deregulation are included here.
Cost Structure
The average costs for a company operating in this industry as a percentage of total revenue.
Capital and Labour Intensity
Provides a guide to the amount of capital used in production/providing a service compared to the amount of labor in the total mix of inputs.
Technology and System
Acknowledges the latest technology and/or systems available to this industry within the country. Technology refers to machinery and equipment (such as computerisation) which enables better and more efficient production. Systems refer to methods of production that also enables better and more efficient production.
Industry Volatility
Industry volatility refers to the year on year fluctuations, which occur in industry output.
Globalization
This gives an indication of the extent to which the industry is global. As a guide, we base its definition of the level of globalization on a number of factors, some of which include: the level of foreign ownership, the proportion of demand accounted for by foreign operators, and in the case of industries dominated by domestic participants, the volume of production conducted in other countries.
Historical Performance
This section details previously important events in the development of the industry
Current Performance
This is the key analysis section for the industry over the past five years. The key performance indicators for the industry in question are discussed, providing trends and explanations for occurrences in the industry.
Key Sensitivities
The sensitivities are factors that are outside of the control of an operator of the industry, but are likely to have significant impact on a business.
Key Success Factors
These are the factors within the control of the operator and which should be followed in order to be successful. Often these may include behavior that will help to minimise the effects of the key sensitivities.
