Indonesia has abundant audiovisual archive potential but has not been well managed. Therefore, Bekraf collaborated with the National Institute of Audiovisuel (INA) to transfer audiovisual archiving through the Workshop on Digitvisation and Monetization of Audiovisual Archives.
Deputy Chief Bekraf Wicky Joseph Pesik said that INA is a government agency under the French Center du cinema et de l’image animee (CNC), which specializes in documenting audiovisual archives. Even INA does not only do archiving but also monetization, where monetization income is used for the operations of the institution so that government funds are only for archiving.
“Archiving in Indonesia is still far from the ideal word because there are problems in infrastructure, methods and governance. Therefore, this activity is an excellent learning opportunity and how the INA model can be adopted in Indonesia, “said Ricky during the Audiovisual Archive Digitization and Monetization Workshop at Alila Solo Hotel on Thursday (9/25/2019).
Director of the National Archives Preservation of the Republic of Indonesia Kandar said that ANRI stores nine types of audiovisual archives, namely photos (3.4 million copies), films (59,002 rolls), microfilms (14,463 rolls), microphones (14,262), sound recordings (45,445 cassettes), reels to reel sound (946 reel), video (25,347 cassettes), phonograph records (101 pieces), and CD / VCD (16,152 pieces).
One audiovisual product that needs to be archived is film. Ricky said that the film’s potential has increased rapidly since it was deleted in the Negative Investment Fund (DNI). Deputy of Inter-Institutional Relations and Regional Bekraf Endah Wahyu Sulistianti said the number of films in 2018 reached 172 films. Indonesian film market share also continues to increase from 22% to 32% in 2016, and reached 40% in 2018. The number of viewers also shows a significant growth from 16 million people in 2016 to 50 million people in 2018.
Ricky added that the opportunity for cinema screen growth in Indonesia is still very open because currently there are almost 2,000 screens in Indonesia with a population of 265 million people. Whereas in South Korea with a population of 60 million people have 6,000 screens, France has 8,000 screens with a population of 80 million to 90 million people.
Furthermore, he said Solo has the potential for development opportunities in the film industry through three aspects. First, Solo has the opportunity to become a shooting location so that a Regional Film Commission (KFD) needs to be formed to attract filmmakers to Bengawan City. Second, the growth of the film community to strengthen HR. Last is to encourage an increase in the number of cinema screens that not only feature national and international films but also regional films.
“With a large number of cinema screens, allowing local films to enter and show in theaters, such as the Uang Panai Mahal film from Makassar which is screened in local theaters and watched by 500,000 people. This film is in demand because it has a closeness with the community, “he said.
Meanwhile, the signing of a memorandum of understanding (MoU) between Bekraf and the Republic of Indonesia State Printing (PNRI) is the development of Lokananta, one of which functions is audiovisual archiving.