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Indonesia continues to prohibit foreign investment in the following areas: germ plasm cultivation; purchase of or investment in natural forests; logging; taxi/bus services; small-scale sailing; film production; and trading and trade- support services, except large-scale retailers, wholesale trading and exhibition/convention service providers.
The U.S. Government again placed Indonesia on the Special 30 Priority Watch List for inadequate protection of Intellectual Property Rights (IPR) in May 2005. The Indonesian government has steadily improved the regulatory and legal framework for the protection of IPR. Enforcement, however, remains weak. U.S industry maintains that 90 percent of all CDs (audio, video, and software) sold in Indonesia is prated. The International Intellectual Property Aliance (IIPA) claims that piracy in Indonesia case US$ 191.6 million is losses the film, music, software and publishing industries in 2004. Pharmaceutical companies claim imports of counterfeit and grey market drugs control 30 percent of the local market.
The GOI has promised to establish in January 2006 a new Labor Court, one year overdue, as part of a broader labor dispute resolution system. Indonesian labor is relatively cheap by world standards, but the country's poor education system and arcane labor laws combine to make Indonesia's competitiveness lag behind other Asian competitors. Lack of education is especially problematic among unskilled and semi- skilled workers. In addition, labor contracts are difficult to negotiate and subject to renegotiation, despite the existence of a written agreement. Local courts are likely to ignore written contracts and side with locals in labor disputes. Expert local human resources advice is essential for American companies doing business in Indonesia, even those only opening representative offices.
What is the distribution scenario for independent films in Indonesia?
The traditional basis is of course the development of the number of cinema screens. The number of Indonesian cinema screens has doubled in the last eight years. Apart from that, there is also the development of semi-commercial screens based on cultural hubs. We call them: micro cinemas. It is also important to support the development of OTT [streaming]-based distribution, while looking for new opportunities that not only allow for increased outreach, but also diversification of audiovisual formats. That way, in the future, Indonesia will have various film business models that complement each other.
Previously suppressed accounts are being published for the first time. Colonel A. Latief, long jailed for his role in the events of 30 September 1965, has told his story in Tempo; Pramoedya Ananta Toer's once-banned book on Indonesia's Chinese was launched with much fanfare; and former persona non grata Benedict Anderson's commentaries are widely disseminated. Radio and television talk shows host uncensored discussion on topics such as East Timor's legacy of violence, New Order corruption, or the military's purported role in the deaths of the Trisakti University students in the Jakarta unrest of May 1998.
Once targets for official banning, book publishers are illuminating the past from new vantage points. Flower Aceh, an energetic non-governmental organisation promoting gender justice, produced a volume on women's accounts of Aceh's persistent violence (see Inside Indonesia April 2000). An important dissertation by Indonesian social scientist Hermawan Sulistyo has appeared analysing aspects of the 1965 mass killings. Garin Nugroho's semi-historical film Unburied Poem, which portrays an Acehnese 'didong' storyteller's memory of involvement with 1965 violence, even had a brief run in cineplex theatres. Despite the continued ban on the study of Marxism-Leninism, books on the left and socialism have proliferated, and were in fact best-selling items in book stalls during the August 2000 session of the People's Consultative Assembly (MPR). In the world of arts and culture, meanwhile, an exuberant celebration of Chinese performance traditions suppressed under the New Order has taken place in many locales.
In the present study, maskless lithography was employed to print an initial two-dimensional micro-pattern with a spatial resolution down to 1 μm onto a DLC-coated die substrate. First, a thick DLC coating was deposited via PECVD onto steel substrates with thicknesses of 10 μm. This micro-patterned substrate was plasma-oxidized to selectively remove unprinted DLC films and to form a micro-textured DLC punch. This DLC punch was fixed onto a cassette die for a micro-embossing process with use of the computer numerical control (CNC) stamping system. Through this process, the micro-pillar textures on the DLC punch were transcribed into micro-cavity textures on an aluminum sheet. A single rectangular DLC-pillar punch can form a rectangular micro-cavity into the aluminum sheet.
Preparation of the thick diamond like carbon (DLC) coating on the SKD11 substrate. (a) Scanning electron microscopy (SEM) image on the cross-section of the DLC-coated SKD11 substrate. (b) Raman spectrum of the thick DLC films for various pressures.
We now also have a strategic partnership, which we have not really taken forward and which we really need to take to the next stage. We need to ask, what do we do with the strategic partnership and our desire to be much more closely related? On the economic side, it is obviously trade and investment. I think tourism is another big area. We are also developing our creative industries. We know that India is quite progressive in IT, content industries, film, music and anything that is culture-based. So I think there is a lot that we can develop together.
The Look of Silence, the new documentary by Danish filmmaker Joshua Oppenheimer, is a companion piece to his 2012 film, The Act of Killing. Both films stand alone as compelling and devastating examinations of one of the most horrific political tragedies of the 20th century, the slaughter of a million communists and suspected communists in Indonesia in 1965 and 1966. But it is only when viewed alongside each other that the project assumes its reflective and moral authority. To relegate the new film to the status of sequel would be to short-change it. It is a second volume, if you like, of an exploration of how to honour memory of a historical outrage that has itself never been acknowledged by the state where it occurred.
The Look of Silence answers that question in the negative, affirming for the documentarian the primacy of truth-seeking and investigation over the aesthetic potency and pleasure of genre tropes. The film is less formally dynamic than The Act of Killing, the silence the title alludes to being both historic and personal. As in the first film, many of the Indonesian participants and crew are listed as anonymous, that choice underlying how the events of 50 years ago are still censored and denied by the state.
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