Proceedings of the International Moving Image Cultures Conference (IMOVICCON 2023)

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Kay Mander and Mardi and the Monkey (1953): Woman’s Agency, Children Film, and Transnational Film Production in Indonesian Cinema

Authors
Umi Lestari1, *
1Film Department, Universitas Multimedia Nusantara, Scientia Boulevard GadingCurug SangerengSerpong, Kab. Tangerang, Banten, 15810, Indonesia
*Corresponding author. Email: umi.lestari@umn.ac.id
Corresponding Author
Umi Lestari
Available Online 5 April 2024.
DOI
10.2991/978-94-6463-390-0_25How to use a DOI?
Keywords
Kay Mander; Indonesian Cinema; Transnational Film; New Film History; Children Film
Abstract

Kay Mander (1915 – 2013), British continuity specialist born in Germany, is an invisible figure in Indonesian film history. In the early 1950s, Kay Mander made two films during her stay in Indonesia: Mardi and The Monkey (1953) commissioned by Children’s Film Foundation (CFF) and the New Boat (1955) commissioned by Perusahaan Film Indonesia (State Film Company, PFN). This research traces Kay Mander agency in Indonesian cinema and the importance of Mardi and The Monkey as a transnational production film in Indonesia. By examining the significant role of Kay Mander as well as her film using the new film history approach, this article offers a revision in the Indonesian film history. Kay Mander is not only playing an important role when she participated in FFI 1955 in shaping the canonization of Indonesian cinema, but she also brought the formula of Children’s Film Foundation to produce children film in Indonesia. Besides that, the importance of Kay Mander’s films is related to the global circulation of Mardi and the Monkey in the United Kingdom, the Netherlands, and Uruguay during the Cold War.

Copyright
© 2024 The Author(s)
Open Access
Open Access This chapter is licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International License (http://creativecommons.org/licenses/by-nc/4.0/), which permits any noncommercial use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made.

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Volume Title
Proceedings of the International Moving Image Cultures Conference (IMOVICCON 2023)
Series
Atlantis Highlights in Social Sciences, Education and Humanities
Publication Date
5 April 2024
ISBN
10.2991/978-94-6463-390-0_25
ISSN
2667-128X
DOI
10.2991/978-94-6463-390-0_25How to use a DOI?
Copyright
© 2024 The Author(s)
Open Access
Open Access This chapter is licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International License (http://creativecommons.org/licenses/by-nc/4.0/), which permits any noncommercial use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made.

Cite this article

risenwbib
TY  - CONF
AU  - Umi Lestari
PY  - 2024
DA  - 2024/04/05
TI  - Kay Mander and Mardi and the Monkey (1953): Woman’s Agency, Children Film, and Transnational Film Production in Indonesian Cinema
BT  - Proceedings of the International Moving Image Cultures Conference (IMOVICCON 2023)
PB  - Atlantis Press
SP  - 263
EP  - 274
SN  - 2667-128X
UR  - https://doi.org/10.2991/978-94-6463-390-0_25
DO  - 10.2991/978-94-6463-390-0_25
ID  - Lestari2024
ER  -