Censoring Movies For Politics: Since The Dutch, Japanese, To Independence

Footage of the legendary film "Crisis" (Source: Commons Wikimedia)

JAKARTA - The development of films in the archipelago began long before Indonesia's independence. The story of how the Dutch implemented censorship is one of the most interesting. At that time, the Dutch promoted film censorship. Through the regulations of the Cinema Ordinance in 1916, the Netherlands controlled the circulation of films that entered the Dutch East Indies.

“The Governor-General can appoint a place in the Dutch East Indies for the establishment of a film censorship commission and a film censorship commission. This commission consists of five members, including a chairman, ”stated the regulations of the 1916 Cinema Ordinance.

Quoted from M, Sarief Arief in the book Politik Film in the Dutch East Indies (2010), the policy unfortunately has political nuances. The issuance of regulations presenting the Commissie voor de Kuering van Films or Film Censorship Commission was only to cover up the negative image of white people in the colonies.

“The motivation that led to the emergence of government policies in 1916 was due to the large number of silent films that entered the Dutch East Indies. The contents and pictures show the behavior of western people, which is full of fighting, murder, rape and sexual freedom, ”said Sarief.

Not only that. Stories in silent films where the problem solving often uses the vigilante method is another reason. The Company was afraid that the scenes in the film could have a bad influence, especially those that could incite the natives to revolt.

Footage of one of Indonesia's legendary films, Lewat Djam Malam (Source: Commons Wikimedia)

Censorship in Japanese times

When Japan officially took power in the Dutch East Indies on March 7, 1942, the Japanese Army Military Occupation Government in Indonesia, named Gunseikanbu, immediately formed seven departments. One of them is called Sendenbu, namely a department that deals with propaganda issues.

Through Sendenbu, the film falls into the trap of the vision of Japanese colonialism. As revealed by Redi Panuju in the book Film As a Creative Process (2019), in the propaganda department Japan echoes the message as an old brother who is ready to improve the fate of the Indonesian nation. However, there are rewards. Indonesia is required to fully support Japan to win their holy war.

After that, Japan strictly prohibited the circulation of films from the United States (US) and Europe which were previously free to watch by the Indonesian people. In line with that, Japan also took advantage of the Company's rules and reduced them to four points.

First, all films in existence must be a strategy of the occupation government to win the hearts and support of the Indonesian people. Second, all telephone conversations may only be conducted in Japanese and Indonesian. Conversation in Dutch and English is prohibited.

Third, the films made must be in accordance with the wishes of the government. And finally, all films that are screened must depict the friendly relationship between Japan and the people in Asia, depict the spirit of nationalism, show the greatness of the Japanese army, to emphasize the cultural values and morality of Japanese soldiers, such as daring to sacrifice and loving the homeland.

This policy flooded the country with Japanese films. Most of the Japanese films that were imported were then given Indonesian subtitles. To the extent that, several films were even prepared specifically for Southeast Asian residents, including Indonesia.

Cinema in Batu City, Malang (Source: Commons Wikimedia)

“The films with propaganda recipes shown in Indonesia during the Japanese era were also artistically good. The first was performed by the Singapuro Soko Geki or General Offensive in Singapore. This is a documentary film that shows how easily British defense in Malaya and Singapore was paralyzed by the greatness of the Japanese army, "wrote Misbach Yusa Biran in the book The Role of Youth in National Film Awakening (2009).

Biran also added another popular film shown by Japan for Indonesian society. The title is Eikoku Kuzururu No Hi or When England Collapsed. The film, shown in 1943, tells the story of the fall of Hong Kong to the Japanese. Uniquely, this film is a combination of documentary films and feature films.

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Censorship at the start of independence

After Soekarno and Hatta officially proclaimed Indonesia's independence on August 17, 1945, Indonesia as a newly independent country could not help but follow its predecessors, the Netherlands and Japan in regulating cinema. For the government of the Republic of Indonesia, film is considered a political tool that must be properly preserved so that it does not conflict with the tastes of the people.

"So, the film examination commission was formed so that the films shown were educational, as well as entertaining. (Even so) how the definition of educating or entertaining is not clearly formulated, "added Eddi Karsito in the book Becoming a Star (2008).

The Indonesian government at that time did not only form a censorship body which had the task of controlling films. The censorship body at that time also censored all kinds of publications, broadcasts, printing, posters, placards, slogans, plays, to telephone conversations.

This happens because the government is already suffering from anxiety related to the frequent consumption of modern entertainment for Indonesians. However, not all national celebrities think that foreign films always have a negative influence. National education figure, Ki Hajar Dewantara, for example. Writing in Doenia Magazine and Film in 1941, he wrote:

As usual. So when a new situation comes - as well as film and radio - it certainly has both bad and goodness. The two consequences must be studied properly, in an objective way, not just following or adjusting to one's own desires (subjective). After that, the good that exists should be developed, expanded, promoted, while the evil parts should be reduced or inhibited as much as possible so that their influence can be minimized.

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