Counter-history Sample Clauses

Counter-history. Changes and continuities in Post-Xxxxxxxx modes of engagement In the euphoric atmosphere of Reform that prevailed after the resignation of President Xxxxxxxx, in all kinds of fields attempts were enthusiastically made to adapt to changes in the socio-political conditions of the Indonesian nation or to set them in motion. Some debates addressed the problem of New Order historiography and the need to ‘set history straight’ (‘meluruskan sejarah’).1 Hence dominant representations of New Order film history also came under fire. In addition to questioning the highlights in film history, several debates concentrated on New Order propaganda historical films. The contents and compulsory screening of the film Penumpasan Pengkhianatan G30S/PKI in particular were targeted. The excitement of Reform and the concomitant sudden freedom of expression generated new developments in discursive practices which inevitably involved the contents and mediation of films. Different film-makers, both professional and amateur, began to produce films in order to present new versions of history and society. In next to no time, there was a rise in the production of documentaries. A large number of the new documentaries told Part Two alternative or counter-histories to those unfolded under the New Order. Generally speaking, these documentaries tended to focus on the victims of Xxxxxxxx rule. Those who had suffered were given a platform to tell their stories about the atrocities committed under the New Order. Several non-governmental organizations, both foreign and domestic, aided in producing and funding these documentaries. The film Kameng Gampoeng nyang Xxxxxxx Xxxxxxx (The village goat takes the beating, Xxxx Xxxxxxxx 1999), for example, was supported by the Indonesian Institute for Human Rights Study and Advocacy Elsham, and his film Penyair Negeri Linge (The poet of Linge homeland, 2000) by xxx Xxxx Foundation. For an excerpt from the documentary Kameng Gampoeng nyang Xxxxxxx Xxxxxxx (Xxxx Xxxxxxxx 1999) see Disc Two 4.1. The film Perempuan di Wilayah Konflik (Women in conflict zones, Gadis Arivia 2002) was produced by the Yayasan Jurnal Perempuan, Lahir di Aceh (Born in Aceh, Xxxxxx Xxxxxx 2003) was produced by the Tifa Foundation and Offstream Production, Pena Pena Patah (Broken pens, Sarjev Faozan, 2002) was produced by the Coalition of NGO’s on Human Rights in Aceh, and Kado Buat Rakyat Indonesia (A present for the Indonesian People, Xxxxxx Xxxxx Xxxxxx 2003) was supported by the...