Download Film 5 Cm Indonesia Blu Ray
Vinnie Breidenthal
Mitsubishi Chemical Corporation (MCC; Head office: Chiyoda-ku, Tokyo; President: Masayuki Waga) today announced that its wholly owned subsidiary PT. MC PET Film Indonesia (MFI; Location: Jakarta, Indonesia; President: Bambang H. Sastrosatomo) will build a new facility to increase its polyester film production capacity. MFI will invest about 130 million U.S. dollars in the new facility, which is slated for completion at the end of 2021.
In the polyester film market, MCC anticipates continued growth in the optical application for displays, conventionally its main application. In addition, demand for polyester films, particularly those for processes to manufacture electronic components, is showing remarkable growth. Factors behind this favorable market include expanding use of electronic components in the automotive industry, and increasing production of electronic components such as multilayer ceramic capacitors (MLCCs) spurred by the growing number of 5G compatible base stations and ongoing upgrades in telecommunications equipment. Under these circumstances, MFI has worked to meet rising market demand by enhancing the efficiency of its current plant and other measures, but in consideration of projected demand growth, it decided to build a new facility that will increase its production capacity to scale of 25,000 tons per annum.
MCC has manufactured polyester films for optical, industrial, and packaging applications at five production facilities in Japan, China, Indonesia, the U.S., and Germany. Demand for industry-use polyester films is currently on the rise, especially in Europe, and the company is planning to increase its production capacity. In other regions, it will also take a proactive approach in the business development, as a leading polyester film company, by increasing its production capacity to meet the needs one by one application.
Outline of PT. MC PET Film Indonesia
Location: Gedung Setiabudi Atrium, Suite 710 JI. H.R. Rasuna Said, Kuningan, Jakarta 12920, Indonesia
Representative: Bambang H. Sastrosatomo
Establishment: 1995
Line of business: Manufacture and sale of polyester films
The cinema of Indonesia refers to films produced domestically in Indonesia. The statutory Indonesian Film Board [id], or BPI, defines Indonesian films as "movies that are made by or using Indonesian resources whose Intellectual Property Right is owned either entirely or partly by Indonesian citizen or Indonesian legal entity".[5]
Cinema in Indonesia dates back to the early 1900s.[6] Until the 1920s, most cinemas in Indonesia were created by foreign studios, mostly from Europe and the United States, whose films would then be imported to the country. Most of these films were silent documentaries and feature films from France and the United States. Many documentaries about the nature and life of Indonesia were sponsored by the Dutch East Indies government, and were usually made by Dutch or Western European studios. The first domestically produced documentaries in Indonesia were produced in 1911.[7] However, the first domestically produced film in the Dutch East Indies was in 1926: Loetoeng Kasaroeng, a silent film and adaptation of the Sundanese legend of the same name.[8] During 1926, there were two movie theatres, the Oriental and the Elita, in Bandung.[9][10] The first movie theatre in Jakarta was the Alhamra Theatre, which opened in 1931.[11]
Indonesian cinema began dominating most movie theaters in big cities in the 1980s and started to compete in international film festivals. Around this era, young stars like Onky Alexander, Meriam Bellina, Lydia Kandou, Nike Ardilla, Paramitha Rusady, and Desy Ratnasari dominated the silver screen with films like Catatan si Boy (Boy's Diary) and Blok M.
Indonesian film slowly lost its place and popularity due to the domination of Hollywood and foreign films in movie theaters throughout the 1990s. In the wake of the Indonesian financial crisis and political movements, the industry struggled to raise public interest in attending movie theaters, and most films stuck to teenage dramas, horror, and adult genres. After the Reform in the beginning of 2000, the Indonesian film industry was strengthened by a growing number of young filmmakers. While the industry was still adjusting to the new constitutions, Indonesian cinema started to reconstruct its identity and regain its former popularity.
The film industry is currently the fastest-growing subsector of Indonesia's creative economy.[12] The number of moviegoers in the country were more than 52 million in 2019. The Indonesian film industry released 230 films in 2019.[13][14] As of 2019, there were about 2,000 screens in Indonesia, which was expected to reach 3,000 by 2020.[needs update] 21 Cineplex (which owns PT Omega Film, which monopolizes distribution of films distributed by the American major film studios), CGV Cinemas (previously Blitzmegaplex), and Cinépolis (previously Cinemaxx) currently dominate the movie theatre industry in Indonesia.[13][1]
Ethnic Chinese directors and producers, capitalising on the success of films produced in Shanghai, China, became involved in the colony's cinema beginning in 1928, when Nelson Wong completed Lily van Java.[20][21] Although the Wongs went on hiatus, other ethnic Chinese became involved in film. Several Chinese-owned start-ups are recorded from 1929 onward, including Nancing Film with Resia Boroboedoer (1928) and Tan's Film with Njai Dasima (1929).[22] By the early 1930s, Chinese-owned businesses were the dominating force in the country's film industry.[23]
After the Great Depression reached the Indies, production slowed tremendously. The Dutch East Indies government collected higher taxes and cinemas sold tickets at lower prices, ensuring that there was a meagre profit margin for local films. As a result, cinemas in the colony mainly showed Hollywood productions, while the domestic industry decayed.[24] The Teng Chun, who had made his debut in 1931 with Boenga Roos dari Tjikembang, was the only producer able to release films during 1934 and early 1935; his low-budget but popular films were mainly inspired by Chinese mythology or martial arts, and although aimed at ethnic Chinese, proved popular among native audiences because of their action sequences.[25]
In an attempt to show that locally produced, well-made films could be profitable, the Dutch journalist Albert Balink, who had no formal film experience,[26] produced Pareh in 1935 in collaboration with Nelson Wong and his brothers. Though the film, costing 20 times as much as most contemporary productions, was an ultimate failure, it affected The Teng Chun's directorial style; the latter took less traditional stories.[27] Balink's next attempt, Terang Boelan, was released two years later. Unlike Pareh, Terang Boelan was a marked commercial success, earning 200,000 Straits dollars (then equivalent to US$114,470[28]) in two months.[29] According to American visual anthropologist Karl G. Heider, these two films are Indonesia's most important films of the 1930s.[30]
Local Japanese-sponsored film production (other than newsreels) remained essentially negligible, and the domestic exhibition market was too underdeveloped to be financially viable. However, Nichi'ei's occupation of the Indonesian film industry was a strategic victory over the West, demonstrating that a non-Western Asian nation could displace Hollywood and the Dutch. Indonesia was one of the last areas in the empire to surrender, and many who worked at Nichi'ei stayed on after defeat to work for Indonesian independence from the Dutch.[38]
Korean director Hae Yeong (or Hinatsu Eitaro) migrated to Java from Korea in 1945, where he made the controversial documentary Calling Australia (豪州の呼び声, 1944). Calling Australia was commissioned by the Imperial Japanese Army and depicted Japanese prisoner of war camps in a positive light, showing prisoners feasting on steak and beer, swimming, and playing sports. After the war, the film caused such a stir that the Netherlands Indies Film Unit rushed into production of the counterpoint film Nippon Presents (1945), which used some of the P.O.W.s from Calling Australia to reject that film's viewpoint. Two decades later, Australian filmmaker Graham Shirley assembled the remaining survivors to make Prisoners of Propaganda (1987), yet another documentary about how, in his view, both regimes had conspired to exploit the prisoners each for their own purposes.[38] After the war, Hae changed his name to Dr. Huyung, married an Indonesian woman with whom he had two sons, and directed three films before his death in 1952: Between Sky and Earth (1951), Gladis Olah Raga (1951), and Bunga Rumar Makan (1952).
After independence, the Sukarno government used the film industry for nationalistic, anti-imperialist purposes and foreign film imports were banned. After the overthrow of Sukarno by Suharto's New Order regime, films were regulated through a censorship code that aimed to maintain the social order and Suharto's grip on society.[39] Usmar Ismail, a director from West Sumatra, made a major impact in Indonesian film in the 1950s and 1960s through his company Perfini.[40] Djamaluddin Malik's Persari Film often emulated American genre films and the working practices of the Hollywood studio system, as well as remaking popular Indian films.[41]
In the late 1950s, a number of political aspects impacted the film industry, not only in production but also in distribution. Threats of burning the movie theaters and film boycotts by anti-imperialist movements meant that the profit for movie theaters dropped drastically. In 1954, a first Indonesian superhero film, Sri Asih, was made.[42] This film was directed by Tan Sing Hwat, and starred Turino Djunaedy and Mimi Mariani as Sri Asih.[42] Around 1964 there were 700 movie theaters in Indonesia, which fell to 350 in 1965. The post-independence era was greatly influenced by the 30 September Movement, which led to a dilemma for local movie theater owners when the local films produced weren't enough to fill the program slot. The economic crash had put the growing industry on hold and paralyzed people's purchasing power; however, at the end of the 1960s, the film industry had survived mostly because of popular foreign imports.
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