[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-45650-en":3,"doc-seo-45650-105":30,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":21,"is_downloadable":21,"audit_status":21,"page_count":22,"language":23,"language_code":24,"site_id":25,"html_lang":24,"table_of_contents":26,"faqs":27,"seo_title":13,"seo_description":14,"update_tm":28,"read_time":29},45650,4398048949847,"Eliana","https://ap-avatar.wpscdn.com/avatar/400002536579ef2da7f?_k=1778318612642679267",8,"Research & Report","Dafna Ruppin The Emergence of a Modern Audience for Cinema in Colonial Java","The article examines the rise of a modern audience for early cinema in colonial Java at the start of the twentieth century. Moving pictures, paired with musical accompaniment, attracted diverse viewers across dialects, ethnicities, and social classes. It analyzes why people attended, what films they watched, and how spatial separation between audience groups was created, maintained, and sometimes challenged in cinema venues. It concludes that going to the cinema educated audiences about modernity through both film content and the technology and facilities that hosted it.","The Emergence of a Modern Audience for Cinema in Colonial Java Author(s): Dafna Ruppin  \nSource: Bijdragen tot de Taal-, Land-en Volkenkunde , Vol. 173, No. 4, Special Issue: New Urban Middle Classes in Colonial Java (2017), pp. 475-502  \nPublished by: Brill  \nStable URL: [https://www.jstor.org/stable/10.2307/26281613](https://www.jstor.org/stable/10.2307/26281613)  \nJSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [support@jstor.org](support@jstor.org).  \nYour use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at [https://about.jstor.org/terms](https://about.jstor.org/terms)  \nBrill is collaborating with JSTOR to digitize, preserve and extend access to Bijdragen tot de Taal-, Land-en Volkenkunde  \nThis content downloaded from [152.118.150.55](152.118.150.55) on Wed, 23 Oct 2019 09:44:23 UTC All use subject to [https://about.jstor.org/terms](https://about.jstor.org/terms)  \nBijdragen tot de Taal-, Land- en Volkenkunde 173 (2017) 475–502  \n[brill.com/bki](brill.com/bki)  \nThe Emergence of a Modern Audience for Cinema in Colonial Java  \nDafna Ruppin  \nInstitute for Cultural Inquiry (icon), Utrecht University  \n[D.Ruppin@uu.nl](D.Ruppin@uu.nl)  \nAbstract  \nThis article examines the emergence of a modern audience for early cinema in colonial Java atthe beginning of the twentieth century. As a visual medium combined with musical accompaniment, moving pictures were suitable for a wide range of audiences. The melange of cinema-goers studied here reflects the plurality of dialects, ethnicities, and social classes in colonial society. This article explores what brought audienceson Java to spend their leisure time at the cinema, the films they watched, and how the spatial separation between different classes of audience members was arranged, upheld, and, at times, transgressed at the various venues that exhibited moving pictures. Finally, it argues that going to the cinema provided audiences with an education in modern things, whether in the content of films representing modernization, progress, industry, and urbanization, or in the form of encountering the technology itself and of patronizing the increasingly modern venues that housed them.  \nKeywords  \ncolonial Java – early cinema – Indonesia – cinema-going – class – ethnicity – gender – modernity  \nIn 1905, a mere decade after moving pictures first arrived in colonial Java, a Dutch newspaper report from Buitenzorg (Bogor) revealed how popular this modern entertainment form had become among urban residents of the Indonesian archipelago. Under the heading ‘Cinemania’, it further alluded to a whole host of class, racial, and gender concerns surrounding the social practice of cinema-going in a colonial society:  \n© dafna ruppin, 2017 | doi: 10.1163/22134379-17304014  \nThis is an open access article distributed under the terms of the prevailing cc-by-nc license at the time of publication.  \nThis content downloaded from [152.118.150.55](152.118.150.55) on Wed, 23 Oct 2019 09:44:23 UTC All use subject to [https://about.jstor.org/terms](https://about.jstor.org/terms)  \n476 ruppin  \nEverything here revolves around the cinema. They get together at the bar of the Royal [Bioscope]. Young girls are constantly flirting in the evening dusk of the cinema. Natives steal, and if they are caught they excuse themselves by saying that they had no money to go to the cinema. A father […] complains that his daughter has disappeared; last night she went to the cinema and since then she has been missing. […] Employees ask for advance payment no longer because their father or mother has passed away—I had a stable boy who lost seven mothers—but because they want to go to the cinema. We are smothered by","cbCaifzbsVE8XmSo","https://ap.wps.com/l/cbCaifzbsVE8XmSo","pdf",1117585,2,1,29,"English","en",105,"# Abstract\n# Cinema-going in Colonial Society\n## Audiences, Classes, and Ethnicities\n## Spatial Separation at Venues\n# Method and Sources","[{\"question\":\"What factors made early cinema appealing to a modern audience in colonial Java?\",\"answer\":\"Moving pictures combined with musical accompaniment attracted a broad range of viewers, reaching far beyond Western origins. 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