my beloved world

          Observing the development of performing arts industry in Indonesia is something that is always interesting to do. Understanding the drama here, the author limit on widescreen movies and television dramas, popularly known as electronic cinema (sinetron) or soap operas. Interesting, because other than through the drama we can observe the dynamics of socio-cultural conditions of society from year to year, as well as how the nation is growing up with a story theme varied by increasing the level of education, economy and understanding of various aspects of life. To assess the full development of this industry, of course it is important to remember-at least-a little early history of his birth. Modern movies which was first produced in Indonesia is "Loetoeng Kasaroeng" by Dutch filmmaker in the early nineteenth century. Still without sound and of course, black and white. Chinese Indonesian citizens played a major role in the production of the early films of Indonesia, with a Dutch film maker. Emerged in the early independence of new characters such as indigenous Usmar Ismail and Djamaluddin Malik. Usmar Ismail movies works like "Tiga Dara (Three Young Girls)", "Lewat Djam Malam (Through the Night Hour)" "Darah dan Du'a (Blood & Praise)" and "Krisis (Crisis)" became a national film masterpiece, which became a national film industry development milestones to date.

          Until the year of 2009, we has produced thousands of national titles. There was a time he triumphed with the production of up to hundreds of titles a year in the decade of 70-80s, but had also collapsed due to rampant piracy in the production of only a dozen titles a year in the decade of the 90s. That all could not be separated from the behavior of citizens as spectators, the government as the maker of regulation and of course the film production personnel himself. For example, the triumph of national films in the era of 70-80s could not be separated from the rule that for every one imported films, must be balanced with four national film production. So the producers race to produce the film which cause the national film flooding the market, although not always balanced by the increasing quality. The situation is still quite favorable considering the home movie player equipment has not wellknown. The Fall of the film industry in recent decades, the 90s are also inseparable from the role of government is not firm in anticipation of widespread piracy, as well as the proliferation of electronic products and multiplier VCD player. Exacerbated by the lack of enthusiasm and creativity of the filmmakers who seemed to get stuck with cheap sex themes and society fond of pirated products, decades of the 90s became a nightmare for the national film industry. Soap operas on television that arguably suffered similar fate. Experiencing the glory of the era TVRI (national TV station) since the 1960s, then slumped in the 90s. The difference, slumped here is not on quantity, but rather to the quality. If TVRI never entertain viewers with quality dramas such as "Keluarga Marlia Hardi (Marlia Hardi Family)", "Sartika", "Losmen (Inns)", "Rumah Masa Depan (Home of the Future)" and the miniseries "Siti Nurbaya" in the decade of the 90s, private televisions “forced” Indonesian households to witness the works pursue a shallow impression in the story, filled with scenes of verbal violence, eyes glaring, until the actresses excessive makeup without looking at the situation and condition of the scene. Selling luxury excess, until a forced slapstick humor. "Si Doel Anak Sekolah (Dul the School Boy)" by Rano Karno was almost the only soap opera series a decent quality enjoyed by the whole family.

The advance in television industry almost as positive. The established production houses displaced by a new start like Sinemart, DePic, Atmochademas, Citra Sinema and Frame Ritz, which offers a better quality of work. The number of soap operas increase because the government sets the percentage of local content-if I’m not mistaken—is up to 80 percent.

Talking about quality, have little mentioned above about once a very poor quality of play by filmmaker and broadcaster of this country at a time.

· the story

so shallow, predictable, simplifying the settlement of problems and conflicts that long-winded. In fact, sometimes unreasonable.

· technical terms (especially for widescreen movies)

some movies seem to save production costs, do not use a standard 35mm camera, but just television cinema-style video cameras. The gap in the color and picture quality clearly visible.

· the theme

the producers seem reluctant to produce themes beyond the trend, let alone show the area of cultural content, of course, for the sake of certainty of profit flow into their coffers.

· scenarios

do not blame the screenwriter, but what can you expect from the process run chase, in which a scenario for an episode duration of 48 minutes sometimes need to be completed in 1-3 days? IBHS not close the possibility for sudden revised because all sorts of things happen on location shooting.

          Without the slightest intention to judge or to despise the hard work beings behind these works, but a critical and objective analysis of the above should always be made for the improvement of quality. They should be roomy chest, gentle, introspective to the next willing to work hard to make things better again in the future.

Just a brainstorm that might be useful, it's time everyone works together to create and build an atmosphere conducive to good industrial development drama. Government, create regulations that not only encourages the rapid growth of this industry, but certainly also ensure a fair implementation in the field. The filmmakers and soap operas, create a good work and creative as possible, but stick to moral values. Very good when developing nations are also cultural. It is also important: avoid running ‘chase system (kejar tayang)’ ! Whatever the reasons are, I remain convinced that the system led to the decline in the quality of the work can be avoided or at least minimized. Last for the citizens as a viewer, remain faithful to the movies to watch Indonesian movies, and of course: avoid buying or downloading of pirated products. When all parties to consistently behave in accordance obligations, the resurrection of the work of Indonesian drama surely only a matter of time. Is not impossible if one day the people of Korea, Japan, Hong Kong, India, Latin America and other countries touched by watching the Indonesian movies and soap operas, contrary to current conditions. Hopefully!