ABSTRACT

In this article, we examine the phenomenon of film communities in post-authoritarian Indonesia by taking four Bandung-based grassroots film communities as our case studies. Drawing on a research work underpinned by a non-exploitative insider methodology grounded in a dialogical participatory observation supplemented with semi-structured in-depth interviews with key participants, we argue that these grassroots film communities defy the ‘creativisation of culture’ process, which is an underlying mechanism of the Creative City agenda, by demonstrating three distinguishing features related to the motive, organizational mode, and the primacy of non-conventional film screening spaces. Due to these distinctive features, the Bandung-based grassroots film communities embody the traits of an underground scene, driven by the politics of value and underpinned by the DIY ethic of autonomy rather than by the logic of economic profitability, which runs counter to the Creative City policy with its emphasis on monetizable creativity.

摘要

在本文中，我们以四个位于万隆的草根电影社区为案例研究，探讨了后独裁印度尼西亚的电影社区现象。借鉴以非剥削性内部方法论为基础的研究工作，该方法论以对话参与式观察为基础，辅以对关键参与者的半结构化深度访谈，我们认为这些草根电影社区违背了“文化创造”过程，即通过展示与动机、组织模式和非常规电影放映空间的首要地位相关的三个显着特征，来阐述创意城市议程的基本机制。由于这些鲜明的特征，万隆的草根电影社区体现了地下场景的特征，