Film, as visual mass communication media has an important role for the development of national culture as one aspect of the effort to increase national identity. Film contains aspect of art such as literature, music, visual, and theatrical, all of which are acculturated into a communication medium that acts as an agent of cultural transformation.
The only non-profit organization in charge of film archiving and preservation in Indonesia called Sinematek Indonesia, with over 2,700 films archives, has been underfunded since 2001, resulting in insufficient maintenance for the film archives. The lack of government attention on preservation effort stemmed from the lack of public interest in the effort itself due to insufficient knowledge and limited access the public have to movies, especially movies that are produced before the raise of Indonesian movies industries in the 2000s.
There must be an effort made to raise public attention and interest in the importance of Indonesian films, especially Indonesian films made before the1990s which contribute to a large part of the film archive. After conducting survey and interviews necessary for this project, there are a demand for the type of product that this project created, thus the initiative to create a project presenting these old Indonesian film in a special way that could attract public interest.
Goals
Re-introducing classic Indonesian movies to current Indonesian public
Providing greater access to old Indonesian films to the public, which can be used for personal and educational purposes
Increasing awareness on the value of Indonesian old films & thereby, the preservation efforts of said films
Become the benchmark to inspiration similar projects to be created
Raise funds for Sinematek Indonesia
Target Market
Indonesia, Middle up Film enthusiasts, interest in art & culture
Main: Collectors People working in film industries Artist & designers
Secondary: Indonesian public
Survey Results
The survey involved 105 respondents, age range of 20-50, who fits the initial target market profile.
The highest number of respondents are from the age group of 20 t0 45 years old, divided equally between male and female.
Over 60% states that they have watched Indonesian films made prior to 1990s, while he number of those interested more than doubled the number of those less interested.
Although the respondents show high interest in old Indonesian films, they are less knowledgable about said Indonesian films made before the 1990s or the preservation efforts for Indonesian films.
The survey explores the visual preference of the respondents regarding the film posters. Posters featuring the main actors, portray in realistic style that shows the genre of the film were preferred in comparison to the more abstract options.
The preferred marketing channel is social media, choosing Instagram as the main platform.
Qualitative Survey
The sources which consisted of Aditya Abdi (Sinematek Indonesia), Adrian Jonathan (Cinema Poetica), Ifan Ardiansyah (Kineforum Indonesia) are asked to choose a minimum of 10 films from a given preliminary list of films of 29 films, digitalized by Kemendikbud and Sinematek, curated based on their significance on the era where they were released. The chosen films will be cross- referenced, and chosen again based on their cultural significance (e.g. awards won, theme), market preference on the type of film in the quantitative survey, and their availability within Sinematek’s collection of digitalized films, for the final result.
Team
Silvana N.S. Wildan Ali Dila Kana
Moodboard
The creative strategy of this project focused on the product packaging design and the film posters, emphasizing on the use of illustration as there are very little of photos representation of the films made in the chosen time periods. The copywriting for the product, and its promotional materials will be in Indonesian language, making it a product unique to the country.
The visual style for this project will follow the era, which means different graphical elements and illustration style for each film tittle. Thorough research was needed to be able to represent correctly the design style in Indonesia of the time period where the films are made, in order to produce maximum authenticity. Five different moodboard were created fo each films, acting as a guideline to different color scheme, typography, graphic elements, and overall mood to the films respective genres. The biggest challenge were to combine five different looks from five different time periods, to tie all five distinctive styles together into a single collection.
Packaging Development
To combine five different looks from five different time period, there has to be a continuity element that can tie all five style together. This is achieved by similar composition and placement of graphic element in every posters and sleeves. The continuity is shown by the use of symbolism taken from the films, as well as using similar composition settings namely the use placement of graphic elements. The packaging focuses on the individual sleeves, maximizing the protection of the discs, and use simple box for the overall sleeve, taking inspiration from old ticket subs in Indonesia. The information on the ticket will be stamped and for each purchase, it will also be stamped with the date and time of purchase to enhance the collection’s nature as a novelty item.
Development
Pareh (1936)
Pareh is a film made in 1936, produced by Dutch East Hindies. During this time period in Indonesia, the frequently used style was a mixed between art deco, then populary used by Dutch designers, while the local artists work mainly on the covers and magazine ads by implementing local graphic elements. In order to achieve the texture of the art deco style, the illustration is created using acrylic paint on textured paper. retouched digitally. The colors were made more vivid, the organic shapes simplified, and the facial lines made sharper. The film tittle was hand drawn for authenticity, inspired from the original type used in the film, while the framing is inspired from the frames frequently used in local publication at the time.
Darah dan Doa (1950)
Darah dan Doa or Long March, tells the perilous journey of gerilya soldiers during the Dutch occupation period in the 1940s Indonesia. The colors used are mainly monochrome and dull, noting the use of raster element to produce transitional effect. It features several characters and wide open background to emphasize the long march in the film. The posters were a composite of several separate graphite illustrations. The background were made separately using watercolour for a subtle, more realistic impression.
The printing industries suffers in this era due to instability after the war. The typefaces was created by hand and composed together, as used during this era, with imperfect leadings and space. The body text uses equal weight distribution type such as Futura.
Violetta (1967)
The only available film by Bachtiar Siagian, a prominent Indonesian film director in the 60s, whose works were mostly destroyed during the fight against communist. As a film made in the 60s, in a transitional period from 1950es style to the psychedelic style that would develop later on the late 60es and 70es, the design style in this period follows the streamlining or Jengky style that emphasize in capturing a more simplistic approach to its subject, unlike the more intricate and decorative style of the art nouveau era. The reference for the illustration style for this particular era mostly arrive from the schoolbook illustrations and cigarette.
It was drawn in A2 size paper, inked, then scanned and colored digitally. The typeface for Violetta is hand drawn, less orderly than Pareh nor Darah dan Doa to match the style of casual handwriting of the 1960s.
Ambisi (1973)
The first movie featuring musical score and cinematography that becomes the benchmark for many music videos in Indonesia. The casts are prominent Indonesia musicians of the age. Ambisi was made in the 1970s, when the use of psychedelic style is popular in Indonesia. The color for this style is vivid neon colors, sometimes made in gradation, and elements such as dynamic lines. Its original poster incorporated the psychedelic element. The fonts are more rounded and thick in this era. As a light comedy film, involving music in almost every part, it is important to highlight the comedic part of the film in the poster. The poster shows the relation of the protagonist and how the side characters react to it. It is meant to be expressive and colorful. It is the only musical in the collection thus the use of musical notes and trippy style lines expressed the flow of music in the film. The typeface for the title is taken from existing type, taking inspiration from the original poster.
Titian Serambut di Belah Tujuh (1987)
The film presents the issue between religion and humanity and won Indonesian Film Award for Best Original Scenario in 1987As a film made in the 80s, the most dominant color is purple and pink shades background on posters and ads. In Indonesia, the use of airbrush was popular. The film posters in the era itself mostly use realistic paintings with dramatic colorings in place of photography as there were limitation to printing techniques in Indonesia. It was decided to replicate the style of the 80s graphic for the artworks instead of the common film posters of the era, following the concept of the overall collection. The illustrations were created using soft pastel crayons and charcoal to achieve a textured handmade gradation. The background for the poster were also drawn separately to preserve the detail. The typeface was taken from an existing typeface, using slanted, bold 80s typeface style.
Bonus Collectibles
The film booklet included information in regards to the film such as the cast, production team, and a brief summary of the films. While the summary of each film was placed as well in the back of the individual sleeve, the inclusion of this summary in the booklet so that it may also function as promotional brochure, used during events such as possible film theatrical premiere. Still continuing from the concept of the sleeve packaging which follows the style of old theatre ticket subs, the stickers were made similar to old tickets from old local theatres where the films in the collection in particular were once played at.
An Ongoing Endeavor
Film is an integral part of Indonesia that records its culture and lifestyle of the society, presented in an entertaining visual storytelling. Yet there is a very low exposure from the public about its preservation effort. There should be interference from the government and the public on matter regarding the preservation and care of films especially in organization such as Sinematek Indonesia, which dedicated itself on maintaining and archiving these films. The project was aimed to spark further interest in the preservation and safe keeping of Indonesian films, giving inspiration for other similar projects to be created, so that future generations may also given the opportunity to explore the lifestyle and history of Indonesia recorded in these films.
Film, as visual mass communication media has an important role for the development of national culture as one aspect of the effort to increase national identity. Film contains aspect of art such as literature, music, visual, and theatrical, all of which are acculturated into a communication medium that acts as an agent of cultural transformation.
The only non-profit organization in charge of film archiving and preservation in Indonesia called Sinematek Indonesia, with over 2,700 films archives, has been underfunded since 2001, resulting in insufficient maintenance for the film archives. The lack of government attention on preservation effort stemmed from the lack of public interest in the effort itself due to insufficient knowledge and limited access the public have to movies, especially movies that are produced before the raise of Indonesian movies industries in the 2000s.
There must be an effort made to raise public attention and interest in the importance of Indonesian films, especially Indonesian films made before the1990s which contribute to a large part of the film archive. After conducting survey and interviews necessary for this project, there are a demand for the type of product that this project created, thus the initiative to create a project presenting these old Indonesian film in a special way that could attract public interest.
Goals
Re-introducing classic Indonesian movies to current Indonesian public
Providing greater access to old Indonesian films to the public, which can be used for personal and educational purposes
Increasing awareness on the value of Indonesian old films & thereby, the preservation efforts of said films
Become the benchmark to inspiration similar projects to be created
Raise funds for Sinematek Indonesia
Target Market
Indonesia, Middle up Film enthusiasts, interest in art & culture
Main: Collectors People working in film industries Artist & designers
Secondary: Indonesian public
Survey Results
The survey involved 105 respondents, age range of 20-50, who fits the initial target market profile.
The highest number of respondents are from the age group of 20 t0 45 years old, divided equally between male and female.
Over 60% states that they have watched Indonesian films made prior to 1990s, while he number of those interested more than doubled the number of those less interested.
Although the respondents show high interest in old Indonesian films, they are less knowledgable about said Indonesian films made before the 1990s or the preservation efforts for Indonesian films.
The survey explores the visual preference of the respondents regarding the film posters. Posters featuring the main actors, portray in realistic style that shows the genre of the film were preferred in comparison to the more abstract options.
The preferred marketing channel is social media, choosing Instagram as the main platform.
Qualitative Survey
The sources which consisted of Aditya Abdi (Sinematek Indonesia), Adrian Jonathan (Cinema Poetica), Ifan Ardiansyah (Kineforum Indonesia) are asked to choose a minimum of 10 films from a given preliminary list of films of 29 films, digitalized by Kemendikbud and Sinematek, curated based on their significance on the era where they were released. The chosen films will be cross- referenced, and chosen again based on their cultural significance (e.g. awards won, theme), market preference on the type of film in the quantitative survey, and their availability within Sinematek’s collection of digitalized films, for the final result.
Team
Silvana N.S. Wildan Ali Dila Kana
Moodboard
The creative strategy of this project focused on the product packaging design and the film posters, emphasizing on the use of illustration as there are very little of photos representation of the films made in the chosen time periods. The copywriting for the product, and its promotional materials will be in Indonesian language, making it a product unique to the country.
The visual style for this project will follow the era, which means different graphical elements and illustration style for each film tittle. Thorough research was needed to be able to represent correctly the design style in Indonesia of the time period where the films are made, in order to produce maximum authenticity. Five different moodboard were created fo each films, acting as a guideline to different color scheme, typography, graphic elements, and overall mood to the films respective genres. The biggest challenge were to combine five different looks from five different time periods, to tie all five distinctive styles together into a single collection.
Packaging Development
To combine five different looks from five different time period, there has to be a continuity element that can tie all five style together. This is achieved by similar composition and placement of graphic element in every posters and sleeves. The continuity is shown by the use of symbolism taken from the films, as well as using similar composition settings namely the use placement of graphic elements. The packaging focuses on the individual sleeves, maximizing the protection of the discs, and use simple box for the overall sleeve, taking inspiration from old ticket subs in Indonesia. The information on the ticket will be stamped and for each purchase, it will also be stamped with the date and time of purchase to enhance the collection’s nature as a novelty item.
Development
Pareh (1936)
Pareh is a film made in 1936, produced by Dutch East Hindies. During this time period in Indonesia, the frequently used style was a mixed between art deco, then populary used by Dutch designers, while the local artists work mainly on the covers and magazine ads by implementing local graphic elements. In order to achieve the texture of the art deco style, the illustration is created using acrylic paint on textured paper. retouched digitally. The colors were made more vivid, the organic shapes simplified, and the facial lines made sharper. The film tittle was hand drawn for authenticity, inspired from the original type used in the film, while the framing is inspired from the frames frequently used in local publication at the time.
Darah dan Doa (1950)
Darah dan Doa or Long March, tells the perilous journey of gerilya soldiers during the Dutch occupation period in the 1940s Indonesia. The colors used are mainly monochrome and dull, noting the use of raster element to produce transitional effect. It features several characters and wide open background to emphasize the long march in the film. The posters were a composite of several separate graphite illustrations. The background were made separately using watercolour for a subtle, more realistic impression.
The printing industries suffers in this era due to instability after the war. The typefaces was created by hand and composed together, as used during this era, with imperfect leadings and space. The body text uses equal weight distribution type such as Futura.
Violetta (1967)
The only available film by Bachtiar Siagian, a prominent Indonesian film director in the 60s, whose works were mostly destroyed during the fight against communist. As a film made in the 60s, in a transitional period from 1950es style to the psychedelic style that would develop later on the late 60es and 70es, the design style in this period follows the streamlining or Jengky style that emphasize in capturing a more simplistic approach to its subject, unlike the more intricate and decorative style of the art nouveau era. The reference for the illustration style for this particular era mostly arrive from the schoolbook illustrations and cigarette.
It was drawn in A2 size paper, inked, then scanned and colored digitally. The typeface for Violetta is hand drawn, less orderly than Pareh nor Darah dan Doa to match the style of casual handwriting of the 1960s.
Ambisi (1973)
The first movie featuring musical score and cinematography that becomes the benchmark for many music videos in Indonesia. The casts are prominent Indonesia musicians of the age. Ambisi was made in the 1970s, when the use of psychedelic style is popular in Indonesia. The color for this style is vivid neon colors, sometimes made in gradation, and elements such as dynamic lines. Its original poster incorporated the psychedelic element. The fonts are more rounded and thick in this era. As a light comedy film, involving music in almost every part, it is important to highlight the comedic part of the film in the poster. The poster shows the relation of the protagonist and how the side characters react to it. It is meant to be expressive and colorful. It is the only musical in the collection thus the use of musical notes and trippy style lines expressed the flow of music in the film. The typeface for the title is taken from existing type, taking inspiration from the original poster.
Titian Serambut di Belah Tujuh (1987)
The film presents the issue between religion and humanity and won Indonesian Film Award for Best Original Scenario in 1987As a film made in the 80s, the most dominant color is purple and pink shades background on posters and ads. In Indonesia, the use of airbrush was popular. The film posters in the era itself mostly use realistic paintings with dramatic colorings in place of photography as there were limitation to printing techniques in Indonesia. It was decided to replicate the style of the 80s graphic for the artworks instead of the common film posters of the era, following the concept of the overall collection. The illustrations were created using soft pastel crayons and charcoal to achieve a textured handmade gradation. The background for the poster were also drawn separately to preserve the detail. The typeface was taken from an existing typeface, using slanted, bold 80s typeface style.
Bonus Collectibles
The film booklet included information in regards to the film such as the cast, production team, and a brief summary of the films. While the summary of each film was placed as well in the back of the individual sleeve, the inclusion of this summary in the booklet so that it may also function as promotional brochure, used during events such as possible film theatrical premiere. Still continuing from the concept of the sleeve packaging which follows the style of old theatre ticket subs, the stickers were made similar to old tickets from old local theatres where the films in the collection in particular were once played at.
An Ongoing Endeavor
Film is an integral part of Indonesia that records its culture and lifestyle of the society, presented in an entertaining visual storytelling. Yet there is a very low exposure from the public about its preservation effort. There should be interference from the government and the public on matter regarding the preservation and care of films especially in organization such as Sinematek Indonesia, which dedicated itself on maintaining and archiving these films. The project was aimed to spark further interest in the preservation and safe keeping of Indonesian films, giving inspiration for other similar projects to be created, so that future generations may also given the opportunity to explore the lifestyle and history of Indonesia recorded in these films.
