Strategies and Challenges in Conventional and Digital Film Distribution and Exhibition in Indonesia

Main Article Content

Cici Eka Iswahyuningtyas
Mochammad Fadjar Hidayat

Abstract

Today, media distribution and consumption can occur anytime, anywhere, anything, both conventional and digital. The change in media consumption behavior has brought many challenges for the Indonesian film industry, particularly distribution and exhibition. Film distribution should not just rely on the domestic market and film exhibitions through cinemas. The number of Indonesian cinemas and screens is not ideal, still concentrated in big cities, has low moviegoers, is dominated by foreign films, and lacks support from the government. This study intended to identify challenges and strategies for conventional and digital distribution and exhibition. Answer to that question, this study was carried qualitatively by conducting a literature review through meta-analysis related to history, experiences, and situations in some countries. Research findings indicate film distribution and exhibition need to run simultaneously conventional and digital. Digital distribution is urgent for expanding market size and cinemas revenue. The conventional distribution needs to be maintained because the highest film revenue still comes from cinemas exhibitions. Therefore, filmmakers should begin to organize their distribution strategy and expand cooperation with digital film providers. The government needs to build distribution infrastructures such as global film festivals and distribution agencies, also create policies related to exhibition incentives and tax rebates, especially for films with small audiences. 



Distribusi dan konsumsi media dewasa ini dapat dilakukan kapanpun, dimanapun, apapun, baik secara konvensional maupun digital. Perubahan perilaku konsumsi media membawa banyak tantangan bagi industri film di Indonesia, khususnya terkait aspek distribusi dan eksibisi. Distribusi film tidak boleh hanya bergantung pada pasar domestik dan mengandalkan eksibisi film melalui bioskop. Hal ini karena jumlah bioskop dan layar yang tersedia di Indonesia belum ideal, masih terpusat di kota besar, memiliki sedikit penonton, berada dalam dominasi film asing dan kurang mendapatkan dukungan dari pemerintah. Kajian ini dimaksudkan untuk mengetahui tantangan dan strategi dalam distribusi dan eksibisi film secara konvensional dan digital. Untuk menjawab pertanyaan tersebut kajian ini dilakukan secara kualitatif dengan melakukan kajian pustaka melalui analisis meta terkait sejarah, pengalaman, situasi yang terjadi di beberapa negara. Temuan penelitian menunjukkan bahwa distribusi dan eksibisi film perlu dilakukan secara simultan. Distribusi digital penting untuk memperluas pasar dan meningkatkan pendapatan. Distribusi konvensional perlu dipertahankan karena pendapatan film terbesar masih berasal dari distribusi melalui jalur bioskop. Oleh karena itu, pembuat film harus mulai mengatur sendiri strategi distribusinya dan meningkatkan kerjasama dengan provider film digital. Pemerintah perlu membangun infrastruktur distribusi seperti festival film dan agensi distribusi di tingkat global, dan membuat kebijakan terkait pemberian insentif eksibisi dan potongan pajak, khususnya bagi film dengan sedikit penonton.

Article Details

How to Cite
Iswahyuningtyas, C. E., & Hidayat, M. F. (2021). Strategies and Challenges in Conventional and Digital Film Distribution and Exhibition in Indonesia. Jurnal Komunikasi, 13(1), 133–146. https://doi.org/10.24912/jk.v13i1.10033
Section
Articles
Author Biographies

Cici Eka Iswahyuningtyas, Universitas Pancasila

Dosen tetap Fakultas Ilmu Komunikasi, Universitas Pancasila. Menyelesaikan pendidikan S2 di Pusat Kajian Media dan Komunikasi Universiti Kebangsaan Malaysia (UKM). Meminati kajian film, perempuan dan media, dan cultural studies. Pernah menjabat sebagai Ketua Lembaga Penelitian dan Pengabdian Masyarakat dan Ketua Program Studi Ilmu Komunikasi di Fakultas Ilmu Komunikasi Universitas Pancasila.

Mochammad Fadjar Hidayat, Universitas Pancasila

Mahasiswa Peminatan Kajian Media, Fakultas Ilmu Komunikasi, Universitas Pancasila. Meminati Kajian Film dan Media.

References

Ardiyanti, H. (2020). Perfilman Indonesia: Perkembangan Dan Kebijakan, Sebuah Telaah Dari Perspektif Industri Budaya Cinema in Indonesia: History and Goverment Regulation, a Cultural Industry Perspective. Jurnal.Dpr.Go.Id, 22(August).

Asia-Pacific-Media MarketLine Industry Profile Media in Asia-Pacific. (2017). MarketLine.

Carroll Harris, L. (2018). Film distribution as policy: current standards and alternatives. International Journal of Cultural Policy, 24(2), 236–255. https://doi.org/10.1080/10286632.2016.1156100

Crisp, V. (2012). Bloody Pirates!!!* shakes fist*’: Reimagining East Asian film distribution and reception through online filesharing networks. Journal of Japanese and Korean Cinema. https://doi.org/10.1386/jjkc.3.1.65_1

Dooboo Shimp, B. (2011). Whither The Korean Film Industry?^. In 214 Acta Koreana (Vol. 14, Issue 1). www.koreanfilm.or.kr

Garon, J. M. (2013). Digital Hollywood 2.0: Reimagining Film, Music, Television, and Publishing Distribution as a Global Artist Collaborative. Mich. St. U. Coll. L. Int’l L. Rev.

Gobalwebindex. (2019). Digital vs Traditional Media Consumption. www.globalwebindex.com

Holmene, I. (2018). Paid or semi-public media? The norwegian film industry’s strategies for social media. Northern Lights, 16(1), 41–57. https://doi.org/10.1386/nl.16.41_1

Huffer, I. (2017). Social inclusivity, cultural diversity and online film consumption. Cultural Trends. https://doi.org/10.1080/09548963.2017.1323844

Imanjaya, E. (2009). The Other Side of Indonesia: New Order’s Indonesian Exploitation Cinema as Cult Films 1 Ekky Imanjaya. www.colloquy.monash.edu.au/issue18/imanjaya.pdf

Jayani, D. H. (2019). Berapa Pengguna Internet di Indonesia? KataData. https://databoks.katadata.co.id/datapublish/2019/09/09/berapa-pengguna-internet-di-indonesia

KataData. (2019). Bekraf Targetkan Penonton Bioskop 2019 Tumbuh 15%. KataData. https://databoks.katadata.co.id/datapublish/2019/02/25/bekraf-targetkan-penonton-bioskop-2019-tumbuh-15

KataData. (2020). Penduduk Indonesia Terbesar Keempat Dunia. https://databoks.katadata.co.id/datapublish/2019/12/16/2020-penduduk-indonesia-terbesar-keempat-dunia

Kehoe, K., & Mateer, J. (2015). The Impact of Digital Technology on the Distribution Value Chain Model of Independent Feature Films in the UK. JMM International Journal on Media Management. https://doi.org/10.1080/14241277.2015.1055533

Kerrigan, F., & Özbilgin, M. (2004). Film marketing in Europe: bridging the gap between policy and practice. International Journal of Nonprofit and Voluntary Sector Marketing. https://doi.org/10.1002/nvsm.250

Lanina, L. A., & Malyshev, A. V. (2019). Target Subsidies As A Film Screening Development Tool In Russian Regions. Vestnik Universiteta, 4. https://doi.org/10.26425/1816-4277-2019-4-75-82

Lidwina, A. (2019). Berapa Jumlah Gedung dan Layar Bioskop di Indonesia? KataData. https://databoks.katadata.co.id/datapublish/2019/10/18/berapa-jumlah-gedung-dan-layar-bioskop-di-indonesia

Mardianto, M. F. F., Hastuti, D. R., Husada, D. A., & Andriawan, R. (2019). Comparative analysis of the competitiveness between Indonesian movies against international movie, as a reference in developing Indonesia’s cinema and curriculum about cinematography. International Journal of Innovation, Creativity and Change, 5(3).

MarketLine Industry Profile Global Media. (2014).

Mediarta, A. (2018). Kaleidoskop 2017: Mengukur detak jantung industri film Indonesia. Film Indonesia. http://filmindonesia.or.id/article/kaleidoskop-2017-mengukur-detak-jantung-industri-film-indonesia#.X8pAVbnivIU

Messerlin, P. (2019). Building consistent policies on subsidies in the film industry: Institutions and instruments in France and Korea. Kritika Kultura. https://doi.org/10.13185/2991

Motion Picture Association. (2019). A comprehensive analysis and survey of the theatrical and home/mobile entertainment market environment for 2019. https://www.motionpictures.org/research-docs/2019-theme-report/

Neuman, W. L. (William L. (2014). Social research methods : qualitative and quantitative approaches (Seventh Ed). Pearson Education Limited.

Putra, R. M. (2019). Musik Rilisan Fisik Di Era Digital: Musik Indie Dan Konsumsi Rilisan Musik Fisik. Jurnal Komunikasi, 11(2), 128–140.

Putri, I. P. (2017). Industri Film Indonesia Sebagai Bagian Dari Industri Kreatif Indonesia. Jurnal Ilmiah LISKI (Lingkar Studi Komunikasi), 3(1). https://doi.org/10.25124/liski.v3i1.805

Ramadani, D. (2018). Kaleidoskop 2017: Bioskop yang Belum Ramah bagi Semua. Film Indonesia. http://filmindonesia.or.id/article/kaleidoskop-2017-bioskop-yang-belum-ramah-bagi-semuatahun-2017-bioskop-yang-belum-ramah-bagi-semua#.X8o8U7nivIU

Smits, R., Higson, A., Mateer, J., Jones, H. D., & D’Ippolito, B. (2018). Distributing films online. In Journal of British Cinema and Television (Vol. 15, Issue 2, pp. 291–299). Edinburgh University Press. https://doi.org/10.3366/jbctv.2018.0419

SMRC. (2019). Siapa Menonton Film di Bioskop? https://saifulmujani.com/wp-content/uploads/2020/01/Presentasi-Final-Film_SMRC_rev.pdf

Toni, A. (2016). Bisnis Media : Pasca Matinya Televisi Nasional Dalam Perspektif Jurnalistik. Jurnal Komunikasi, 8(1), 36–50.

Van Hemert, T., & Ellison, E. (2015). Queensland’s film culture: The challenges of local film distribution and festival exhibition. Studies in Australasian Cinema. https://doi.org/10.1080/17503175.2014.1002269

Wahyudi, S. (2018). How To Win Indonesian Movie Viewer: Case of Village Cinena Australia. Jurnal Bisnis Terapan, 2(01). https://doi.org/10.24123/jbt.v2i01.1084