Search results
Results From The WOW.Com Content Network
1950–1970 Usmar Ismail (20 March 1921 – 2 January 1971) was an Indonesian film director , author, journalist and revolutionary of Minangkabau descent. He is widely regarded as the native Indonesian pioneer of the cinema of Indonesia .
Indonesia was an important country in developing the Non-Aligned Movement, hosting the Bandung Conference in 1955. Indonesia had relentlessly pursued its claim to Dutch New Guinea from 1950 to 1962, despite facing multiple setbacks in the UN General Assembly in getting its claim recognised by the international community.
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. [43]
Title Director Cast Genre Notes 1950: Darah dan Doa: Usmar Ismail: 1951: Akibat: Awaludin: Enam Djam Di Djogdja: Usmar Ismail: Selamat Berdjuang, Masku! H Asby
Movie theaters are not the only place to buy boxed candy — you can get boxes of chocolate or candy at some drug stores or online — but even then they’re called theater box candy, a label ...
Indonesia, Southeast Asia’s largest economy, is still an underdeveloped movie market. Cinemas in the country sold more than 53 million tickets last year, surpassing levels before the pandemic ...
This was further exarcebated with the Konfrontasi declared by Indonesia towards Malaysia causing a ban of Singaporean films from the Indonesian market. [7] Even with the separation from the Federation, Lee's government throughout his tenure placed little priority on continuing its own homegrown film-making culture in preference to policies ...
Films of the 1950s were of a wide variety. As a result of the introduction of television, the studios and companies sought to put audiences back in theaters. They used more techniques in presenting their films through widescreen and big-approach methods, such as Cinemascope, VistaVision, and Cinerama, as well as gimmicks like 3-D film.