![]() It moves beyond the dichotomy of top-down and bottom-up approaches, as it operates within the intermediate space between the public (the State) and the private (the individual), an arena or socio-political space within which social actors seek recognition of their memories and channel their agency (Ashplant, Dawson & Roper, 2000:12–17). Literature review The Politics of Memory and New MediaĤThe politics of memory refers to how political communities articulate, and hence gain recognition of, certain memories and narratives (Ashplant, Dawson & Roper, 2000: 12). How does YouTube reflect the politics of memory as a contested space and the dominance of certain social memories? Exploring Indonesia’s creation of social memories through YouTube is beneficial, as many countries have experienced similar traumas in the past and have used new media to contest such memories. This study, therefore, asks how YouTube has interconnected with the politics of memory within the Indonesian state. Within the context of the 1965/1966 Tragedy, both official and vernacular versions are available on YouTube.ģHowever, not much research has explored YouTube videos related to the 1965/66 tragedy within the context of the politics of memory. As YouTube viewership in Indonesia is among the highest around the world (Katadata, 2018), the website has thus become one major locus of memory contestation (Ikhwan, Yulianto, Parahita, 2019). ![]() 1 In the current digital era, the internet has been widely used to distribute films. However, since the collapse of Soeharto’s New Order in 1998, at least forty alternative films dealing with the 1965/66 massacre have been released. Noer’s film Penumpasan Pengkhianatan G30S/PKI ( The Eradication of the Treachery of the 30 September Movement/Indonesian Communist Party), more commonly known as Pengkhianatan G30S/PKI, has been widely propagated to produce an official memory of 1965/66 and its aftermath (Zurbuchen, 2002 Wieringa & Katjasungkana, 2019). More alternative fi (.)ĢOwing to its capacity to offer different means of interpreting and remembering the trauma of modern Indonesian history, cinema has become part of the battle for history in Post-Soeharto Indonesia (Espena, 2017: 59). 1 Jusuf (2016:12) notes that, between 20, 25 such films were released.Self-promotion is not prohibited but may subject to removal. Posts with repetitive content or certain generic topics may be removed to help maintain mag quality Others determined on a case-by-case basis. The quality of a post is primarily judged by how much it contributes to a constructive discussion. Low quality/effort posts are subject to removal. Posts that primarily reference other topics will be moderated on a case-by-case basis. It is natural that people have different opinions, however, please stick to basic discussion etiquette disagreement is fine, insulting or harassing others is not.Īll submissions should be primarily relevant to the Mag. All people are created equal and should be treated as such. Debugger: Update BMP import from GIMP 2.10 with X8 R8 G8 B8.Debugger: Allow alternate directory for built-in symbols.Debugger: Crash due to debugger command line length.Debugger: Fix disassembly of current line is illegible in "black & white" mode. ![]()
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