The melodramatic children: The representation of children in Ratapan Anak Tiri [Lament of Step-Children] (1973), Ratapan Anak Tiri [Lament of Step-Children 2] (1980), and Arie Hanggara (1985)
Article
The New Order’s cultural politics of development of national identity were applied to Indonesian films made during this period as a form of cinema politics. The New Order conceived of cinema as a medium for ideological propaganda which could and should be controlled in order to maintain political stability. Most Indonesian films made during the New Order regime depicted children as part of a discursive strategy to promote national identity within an ideological framework defined by theories of social development and discourses of social and political stability. This article focuses on Ratapan Anak Tiri [Lament of step-children] (1973), Ratapan Anak Tiri [Lament of step-children] 2 (1980), and Arie Hanggara (1985), melodrama genre films that featured suffering children among the main characters was the result of a narrative shift initiated to avoid political problems with the regime. The typical narrative of these films includes the representation of a family with the father figure as the apex, a demonised woman figure, and helpless children at the bottom of the family structure. Primary child characters are predominantly depicted as weak, dependent, and less imaginative. These melodrama films emphasised this pattern in their narrative by presenting an image of the state’s apparatus as a solver of family domestic problems.
Ang gámit ng temang-awit panteleserye
Article
Abstrakt
Mahalagang-mahalaga ang musika sa teleserye, lalo pa’t bílang soap opera, nakabalangkas ang anyo nito sa melodrama. Sa kaso ng teleserye, ang pagkasangkapan sa musika ay higit na mapahahalagahan sa pagbaling sa matatawag na temang-awit panteleserye o theme song, na madalas ginagamit hindi lámang bilang pananda ng kaakuhan ng palabas o mohon ng simula’t wakas nito, kundi pati na rin bílang kabuuang temang musikal. Ibig kong maghain ng ilang kaisipan hinggil sa gámit, at siyempre, halaga ng mga ito bílang musikal na suhay ng teleseryeng babád sa melodrama. Upang maging masaklaw ako sa pagtalakay kahit papaano, ibabalangkas ko ang aking paggalugad sa gámit ng temang-awit panteleserye sa naging paraan ko ng pagkakasaysayan sa naging pag-angkop, pag-unlad, at pagbago sa teleserye. Ang papel na ito ay pagpapalawig ng aking pakasaysayang lápit sa teleserye habang ipinaliliwanag ang tatlong gámit na aking inihain—ang pagiging reiterasyon ng salaysay o naratibo ng palabas; ang pagiging tagapagpaigting ng drama at tema; at ang pagiging tagapagpalawig ng teleserye bílang telebiswal na produkto.
Abstract
Music is very vital in the teleserye, since as a soap opera, its form is structured in melodrama. In the case of the teleserye, the use of music may be further valued by an exploration of what is called the teleserye theme song, commonly utilized not only as marker of program identity or signifier of its beginning and end, but also its being the program’s overall musical theme. I wish to offer some insights about the use, and of course, the value of these songs as musical iterations to the teleserye which is immersed in melodrama. To make the discussion relatively extensive, I will frame my exploration of the use of teleserye theme songs by using my periodization of the teleserye’s history of adaptation, development, and transformation. This paper expands my historical approach on the teleserye while it explains the three uses I offered—as reiteration to the teleserye story or narrative; as a means to heighten drama and theme; and as disseminator of the televisual product.
Ang Karanasan ng Nakaraan sa Gunitang Viswal: Pagsusuri sa mga Pelikulang Romantiko sa Baguio
Article
Nakalikha na ng mga dominanteng gunita ang mga popular na romantikong pelikula sa espasyo ng Baguio. Ang mga gunitang ito ang siya ring naging kumbensyon na patuloy na ginagamit at tumatak na sa kaisipan ng popular na masa hanggang sa kasalukuyan. Matingkad at napanatili ang ganitong naratibisasyon sa mga pelikula na nakaugnay sa romantikong pagpapakahulugan dito ng kolonyalismong Amerikano, kaugnay ng kanilang proyektong lugar-pahingahan sa partikular sa espasyo noong unang bahagi ng ika-19 dantaon. Kabilang dito ang pagsasaayos ng espasyo at pagbubuo ng mga establisimiento na magbibigay serbisyo at aayon sa pangangailangan ng kapangyarihan. Sa idealisasyon ay kakabit nitong mga kuwento ng pahinga, bakasyon, pagtakas, at pag-ibig. Sa ganitong realidad sa mundo ng popular ng pelikula ay ang kasabay naman nitong pagsasantabi sa mga pangkasalukuyan isyu at mga problemang hinaharap ng siyudad sa mga aspektong sosyolohikal, kultural, at ekolohikal.
Nakapaglatag ng sariling kahulugan at naratibo ang mga pelikula tungkol sa Baguio. Masasabing nakaugnay pa rin ang mga kahulugan, naratibo at gunita sa pagkakahubog ng kasaysayan dito. Naisasalin at naipagpapatuloy ng mga popular na romantikong pelikula ang mga binuong kahulugan ng kasaysayan. Napanatili sa mga pelikulang ito ang ideal na naratibong binuo sa kasaysayan, kung paano ito hinubog ng kolonyalismong Amerikano bilang isang ideal na lugar na pahingahan. Sa mga pelikula ay ang kapangyarihan ng kolonyalismong Amerikano.
The Experience of the Past in the Visual Nostalgia: An Analysis of Romantic Films Set in Baguio
Article
Popular romantic films create a dominant nostalgia for the spaces of Baguio (e.g., pine trees, vast mountains, Session Road, Burnham Park, Burnham Lake), a convention that continues to capture the consciousness of the masses. These films craft their own definition and narrative of the city. Stories of rest and recreation, escapism, and romance are spun, and are closely intertwined with Baguio’s past: of how the Americans had transformed the mountaintop city into what they envisioned as an ideal, idyllic vacation place for the elite. But as a consequence of this “reality” portrayed in popular cinema, contemporary sociological, cultural, and ecological issues and problems that Baguio faces are pushed aside. Indeed, in these films resonates the power of American colonialism.
