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Life Lessons from The Jungle of Papua. Meeting the Requirement of Iron through Complementary Feeding. Japan's challenge of measles control. Epidemiology of CKD in children and evaluation of kidney function. Andjar Asmara was the figure who influenced Ismail and his friends to enter filmmaking world. He was a journalist of Doenia Film Indonesian edition for Filmland and later became a playwright and one of the first indigenous filmmakers and film critics.
Andjar Asmara sat as the chairperson of juries in the first Indonesian Film Festival, One of the most important things in this era is that Ismail and his friends learned to make films systematically, both in the preparatory stage and during the actual shooting, whereas when working with Chinese film companies they felt haunted by the need to keep cost down, etc.
Said 34; Kurasawa And, as prominent writer Armjn Pane states, the language used in the dialogues of the film became very fluent and was no longer bahasa Melayu-Tionghoa Sino-Malay dialect but a more correct form Kurasawa The convergence of opinion on filmmaking between Asmara and Ismail brought the two together in a cooperative venture that lasted well into the post-Japanese occupation era.
In , when Asmara made movies for South Pacific Film, he offered Ismail the job of assistant director Said After the Japanese surrendered, the department was taken over by the government of the Republic Indonesia and its facilities were put under the control of the Directorate of Movies and Communication of the Department of Information Kurasawa Post-Independence Day The most important event for Indonesia is the proclamation of independence on a Friday morning, 17 th August Dutch literary historian Teeuw states that in the first years of independence, large numbers of young intellectuals were drawn to film.
Rivai Apin, Asrul Sani, Siti Nuraini, Sitor Situmorang, Trisno Sumarjo, and many others were fascinated by this new medium, which promised so much—especially in a land where for the man of letters contact with the not yet reading public proved to be such a great problem quoted in Sen As I mentioned earlier, Andjar Asmara inspired the playwright Usmar Ismail to enter filmmaking world.
Ismail at that time was just released from Dutch custody he was captured in Jakarta while doing his task as an intelligence officer , and he left his military duties to make films Said Another prominent figure who had influenced Ismail and other early filmmakers from the idealistic group was Dr.
Huyung, also known as Hinatsu Eitaro or Hue Yong. He was a Japanese-half Korean soldier, and his duty was to dominate the theater industry in the Japanese occupation era.
One of the lecturers was the prominent thinker and founder of Taman Siswa[8]Ki Hajar Dewantara, the first the minister of education and cultural affairs. But the institute soon disbanded. Huyung and other intellectuals taught filmmaking in Jogjakarta. The first film produced by this company is Darah dan Doa, and its first shooting day, 31 st March , became National Film Day. The funding for this film was helped by Tong Kim Mew, a Chinese movie theater owner Said , 51 , and senior officials of the Siliwangi military division Sen The story speaks of the saga of the march by the Siliwangi Division from Jogja to its old base in West Java after the Dutch took Jogja in Said The main characters were all real people Sen The next film, Dosa tak Berampun The Unforgiveable Sin, represents the first exodus of the Indonesian war as related to real-life topics.
The article states that in that film, a conscious attempt has been made to apply the principles of good film, something rarely seen in Indonesian films.
The article stated that the lyrical Italian realism has left a good imprint there and, for the time being at least, that film can be said to be the best Indonesian film ever made. Usmar should have further exploited his material. Said mentions that at the time Perfini was established, neorealism which was a new trend in filmmaking was riding high in Italy.
The same opinion was shared by Perfini people. Said also mentions other aspects. First, the constant lugging of the camera to the street or shooting location instead of the studio. Second, just like the neorealist succeeded in showing the worn face of post-war Italy, Perfini did its best to show the real face of Indonesia.
After the production, Ismail was awarded Rockefeller Foundation fellowship to study for a year at the University of California in Los Angeles Said A year later, he made films under the influence of Hollywood style and tried to strike a compromise between idealism and commercialism.
But, the spirit of the idealistic group of filmmaking still existed in Perfini. Regarding the connection between Perfini and realism, Nyak Abbas Akub, a director specializing in comedy who always put social issues on his films and began his career at Perfini, explains that in Perfini days, he and his colleagues got the stories for the films from reality.
The Long March of the Siliwangi Division gave birth to The Long March; the general attack on Jogya gave birth to Six Hours in Yogya; the struggle for housing in Jakarta in those days became the source of Crisis; while Past Midnight was based on the difficulty that veterans were having in adjusting to society after leaving military service.
Before the film was made, some kissing scenes appeared in newspapers and it was stated that the still photos were taken from the film, hence it became controversial. Expatriates in Indonesia also made protest against its sensitive content. And it became just an ordinary love story because several scenes had to be cut and be replaced with new ones Said Pane refused to put his name on screen Sen This is the indigenous film company that started the big studio system with cooperation with studios in Manila, Philippine, for post-production and later built a big studio in Jakarta suburb of Polonia with complete equipment Said 41 and with Hollywood style approach.
This was the film that got critically and commercially successful achievement Said 43 , the union of the commercial and idealist filmmakers. The story is about Iskandar, a medical student and revolutionary soldier, who finds himself unable to face the better prospect of civilian life in post-war Indonesia and feels betrayed by the corruption and mismanaged leadership surrounding him Sen Tarmina, a Persari production directed by Lilik Soedjio also became the best film.
Consequently, many people questioned this result, considering Malik fully sponsored the festival Said But Ismail and Malik, and also Sani, were still best friends and united in one political party, Nadhatul Ulama the Awakening of Islamic Scholars, a traditional Islamic party.
In PPFI, they made public statements and arranged demonstrations by film actors and other film personnel to urge the government to lower the quota for Indian movies Said 44 because they consider Bollywood films the destructor of Indonesian film market. Later, all of them made Tauhid Pilgrimage to Mecca. From the leftist filmmakers, Bachtiar Siagian is the most prominent director who made film with socialism-realism approach such as Tjorak Dunia Color of the World, and Turang Beloved, Later, the influence of the communist party grew and had great effects on Indonesian cinema.
On the other hand, PPFI, under the leadership of Ismail and Malik, decided on 19th March to close all studios, in protest against Indian films domination over the market Sen Later the studio reopened, but a few days after the reopening, in May , Malik was arrested.
No clear or authoritative explanation was given as to why he was arrested. They also considered the film a defender of imperialists and colonialists Said As a result, the film was confiscated by the military. They boycotted Hollywood films Said 69 and attacked other filmmakers who did not belong to their group and manifesto. Tauhid literal meaning Oneness of God, about pilgrimage to Mecca was almost banned, but President Soekarno helped the film to be on screen.
This political tension ended when the tragedy of G30S September 30 Movement, the killing of six generals—the official version stated that the communist party attempted to gain political power happened on 30 th September PKI was banned, and the new order regime under Soeharto began.
Over half a million people were killed during the transition to the new order. The mass killing was aimed to purge the society from communist people[11]. Soeharto became president, and the army dominated the political sphere Sen In this era, the rules over filmmaking were very difficult and hard, for example the censorship and the bureaucracy.
And if the director had fulfilled all the requirements, the censorship affairs were the next step to face. Heider illustrates that the government film censorship board must approve the script of a film before shooting, and it must advise again during the editing stage. News items frequently appear in the press announcing titles of films which have been released by the censorship board Heider Later, in , Kuldesak became an important phenomenon because the directors broke all these complicated rules Sumarno and Achnas but in fact, in early s Garin Nugroho did the same[13].
I will elaborate this topic later. Let me discuss this era by decades. The unique thing in this is that Usmar Ismail and Djamaluddin Malik were excluded Said 82 [14].
But DPFN did not establish for long. Mat Dower has a strong satire social critic and distributors were frightened away by its content Said In this s era, new filmmakers were born. Lono, the main character, becomes a thief who steals from his corrupt friends to divide the spoils among those badly in need Said Both Si Doel films speak of the indigenous people of Jakarta; the first is a children film and the latter tells about the culturally-shocked teenager Doel toward modernity.
Si Mamad tells about an honest middle-aged clerk called Pak Mamad, who works in the archives section of the Ministry of Internal Affairs and lives in slum quarters on the edge of Jakarta. But, soon, he wants to confess his mistakes but nobody cares. Tormented by guilt and inadequacy, Mamad gets ill and later dies. Budiman, his friend, at the burial site, pays his last tribute to him: People called him Pak Mamad. But he preffred Muhammad. Muhammad has left us. And the world has lost a person whom I knew as the most human of human beings Muhammad who was honest and Muhammad who was truthful.
Unfortunately, he died because of his honesty. I trust that God will recieve him unto Himself. It tells about an uncompromised portrayal of the development of a young man into adulthood. From his first film, Karya wanted to make films showing the life of ordinary people Sen 5.
Arifin C Noer[16] made his first movie in The film was pended in Badan Sensor Film Film Censorship Board for almost six years for the content, and was released with meters-long cut Kristanto Another filmmaker from the idealistic group is Nico Pelamonia with his debut work, Anjing Anjing Geladak Harbor Dogs, , which tells about the harsh life in the harbor area.
Nyak Abbas Akub, who used to help Ismail in Perfini, was the figure that had succesfully combined the commercial and idealistic groups of filmmaking. Those films concern gender role in society and the power of women with their sexuality toward men. And those Akub films are successfully combined idealistic purposes and commercial gain. Do not give them a change to dictate to us. They know nothing about filmmaking. But, still, Karya and other idealistic directors should sometimes make compromises in order to realize their next idealistic projects.
In , Frank Rorimpandey directed Perawan Desa The Village Virgin , adapted from a true story about Sumarijam, 17 years old girl from Jetak near Jogjakarta who was raped by a son of senior civil servantofficial in September Sen It was a legally difficult process because the rapist was the son of a man of power while the victim was a nobody.
The film depicts the huge difference between wealthy people in the mansion and poor people in kampung Sen Film journalists commended that Perawan Desa is a film of very high social relevance, extremely relevant in the efforts of the Indonesian people to search for and establish truth and justice and it depicts clearly the fate of the little people rakyat kecil who suffer, trampled by injustice.
The commercial group of filmmakers still existed in s. The film made the star couple, Sophan Sophian and Widyawati, popular. In this era, commercial filmmakers also began to produce sexploitation films. Popular actress known as the queen of mystic and sex symbol Suzanna started her adult career in with Bernapas dalam Lumpur Breathing in the Mud, Turino Djunaidi , the first film to accentuate sex, rape, and dirty dialogues.
The phenomenon of sexploitation cinema underlines the strong position of the commercial group of filmmaking. These films were made for commercial aims, thus the stories were poor and female bodies were exploited to sell the films.
However, the slowdown of film industry reoccured in The number of productions decreased. People kept on blame on each other. Some blamed the filmmakers, some blamed film journalists and critics. Farouk Afero, an actor and singer , said that the cinemas were at fault and he shaved his head bald in protest against cinema owners Said FFI was held again in [17]. But this did not change the situation. In , there were 77 films, but downed to 41 in They discussed the crisis in film industry and its connection to cinemas and government.
As a result, three ministers issued a regulation stating that every cinema should put national films on-screen. But still this step did not help fixing the problems. In , the Minister of Information stated that film importers should produce national films as a condition to import film from abroad.
Yet, film productions increased rapidly although most of them were of bad quality. Another popular star couple was Yessy Gusman and Rano Karno. The star system, as one of the important elements of commercial group of filmmaking, dominated the film market. Most of the films used popular film stars, and most of the spectators were and still are going to the cinemas to watch their idols on screen. The s In the s, Asrul Sani was still a scriptwriter.
The film tells about man-woman relationship connected in a comical marriage life. The film made director Chaerul Umam travel around the world from one festival to others. It is a social comedy about an ex-pickpocket who participates in the independence war and inaugurates himself as general. Exchange Visitor Sponsorship Program J-1 visa Sponsoring physicians on J-1 Exchange Visitor visas and ensuring that Exchange Visitors and their host institutions meet the federal requirements for participation in the Exchange Visitor Program.
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