Abstract

The Indonesian film ORPA, Theo Rumansara’s directorial debut, offers a groundbreaking perspective on Papua, distinct from prevalent media portrayals. This research employs an interpretive, ethnographic approach to analyze the film’s cultural and societal implications. Grounded in bell hooks’ oppositional gaze theory, the study investigates how ORPA challenges dominant narratives, utilizing visual storytelling to disrupt stereotypes and prompt critical reflections on identity and agency. The methodology comprises three steps: a formal analysis of the film, an examination of ORPA film reviews in the media, and interviews with the director and producer. This research shows how the oppositional gaze in ORPA towards the Java-centric Indonesian cinema is expanded by the film’s creative process, which emphasizes a blend of experienced professionals and local talents, fostering a culturally authentic aesthetic. ORPA is a powerful cinematic tool for cultural critique, employing the oppositional gaze to subvert prevailing narratives in Indonesian cinema. By intertwining cultural specificity with universal themes, ORPA transcends geographical and cultural boundaries, offering a poignant example of cinema’s potential to foster empathy, understanding, and critical reflections on societal norms and agency.

Presenters

Azalia Muchransyah
Assistant Professor, Film Department, School of Design, Bina Nusantara University, Jakarta Raya, Indonesia

Details

Presentation Type

Paper Presentation in a Themed Session

Theme

Communication

KEYWORDS

Indonesian Cinema, Oppositional Gaze, ORPA, Papuan Representation

Digital Media

Register to Access Digital Media & Discussion