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  • Basuki Resobowo as a Jack of All Trades: The Intersectionality of Arts and Film in Perfini Films and Resobowo’s Legacy in Indonesian Cinema
  • Umi Lestari
Figure 19. The slow-paced editing allows the audience to see the small details that matter in the film. Above left: Resobowo places Sukarno’s poster in a bamboo house (Darah dan Doa, 1950). Above right: A NICA soldier admires a Caucasian girl in a poster (Enam Djam di Djogja, 1950). Middle left: Men in Terimalah Laguku discuss Sobari’s fate in a coffee shop with a poster of a Caucasian woman above. Middle right: Resobowo created a set that represents the band’s song. Below: Resobowo intended to put a woman’s portrait in-line with Garuda in Terimalah Laguku (1952).
Figure 19.

The slow-paced editing allows the audience to see the small details that matter in the film. Above left: Resobowo places Sukarno’s poster in a bamboo house (Darah dan Doa, 1950). Above right: A NICA soldier admires a Caucasian girl in a poster (Enam Djam di Djogja, 1950). Middle left: Men in Terimalah Laguku discuss Sobari’s fate in a coffee shop with a poster of a Caucasian woman above. Middle right: Resobowo created a set that represents the band’s song. Below: Resobowo intended to put a woman’s portrait in-line with Garuda in Terimalah Laguku (1952).

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This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.