![]() ![]() Greater access to education meant that the financial elite were increasingly literate, leading to a growth in the literary industry. During the period covered, the Indies was a colony in flux. The works adapted, meanwhile, were generally popular in wide society-though often best known through stage performances and adaptations. The nine producers and directors involved in adapting novels came from a variety of ethnicities. Only one author had multiple works adapted, and two novels were adapted more than once. A total of eleven films were adapted from eight novels in the Indies. Primary sources used include contemporary newspapers and novels that were adapted to film (keeping in mind that the films themselves are lost), whereas secondary sources used include journals, articles, books, and the internet. Data used is predominantly from primary and secondary sources. This study uses Weber’s concept of the social act, a rational action conducted by an individual in order to interact with society and reach a certain goal. As such, this research was conducted in order to better understand the origins of this phenomenon and the earliest considerations in making the social act. The adaptation process from this period is little understood, yet important for understanding the history of screen adaptations, which are quickly becoming the most lucrative type of film in Indonesia. Krugers and ended in 1942-before the Japanese occupation-with the adaptation of Siti Noerbaja by Lie Tek Swie. "This study discusses the social act of adapting films from novels, as found in the Dutch East Indies, where this phenomenon began in 1927 with the adaptation of Eulis Atjih by G. Despite shifts in advertising since the 1990s, textual identification and visual identification with the source novel's original cover continue to be used to link novels and the films adapted from them. When the adaptation of novels became common in the 1970s, three techniques of linking novels and films emerged: textual identification, visual identification with the source novel's original cover, and visual identification using idealized books. ![]() Adaptation was not recognized in advertisements in the 1950s, a situation that began to change in 1962 after Usmar Ismail claimed his Anak Perawan di Sarang Penjamun as the first collaboration between authors and filmmakers. In the first decades of adaptation in Indonesia, emphasis was given to the story adapted rather than the novel, which is unsurprising given that audiences were most familiar with stage performances of these stories. This article traces how film adaptations of novels in Indonesia have been advertised, giving particular emphasis how the novels adapted were (or were not) linked to their adaptations. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |