Practitioners and or scholars have presented arguments on the concepts, characteristics and theories of community media. I will also focus on how the practice and consumption of Layar Tancap and policies of New Order government interact, negotiate, and influence each other. I will argue the opposite: Suharto’s government tried to frame this kind of distribution and exhibition cultures, long before 1993, precisely because the villagers were one of their important assets considering that they were the majority of Indonesian citizens. By observing New Order’s film policies as well as general and trade magazines, I will investigate van Heeren’s claims above. The Indonesian Statistical Bureau (PBS, Pusat Biro Statistik) only covered numbers from ordinary cinemas in the big cities (Sen 1994, 72). How did New Order and its policies value and deal with the subculture of Layar Tancap (open air cinema) or bioskop keliling (mobile cinema shows)? According to Katinka van Heeren, Layar Tancap shows were out of New Order’s radar until 1993 (van Heeren 2012, 33), the year the government finally acknowledged and formalized Perfiki (Persatuan Perusahaan Pertunjukan Film Keliling Indonesia, or the Union of Indonesian Mobile Cinema Show) According to van Heeren and Krishna Sen, although its spectatorship is important to note, but no specific official policies was applied and no data was collected by The Indonesian Statistical Bureau, for this open air cinema (Sen 1994). In the film industry, the government applied sharp censorship and controlled film production by controlling the script and film bodies as well as distribution and exhibition. Indonesia’s New Order Government (1966-1998) is notorious with its state-control of every aspect of life.
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