“Slowly, they’re getting the message,” she says.īut with the absence of stringent and consistent enforcement, along with double-digit growth in Internet connectivity, Indonesia has become a haven for online piracy, the International Intellectual Property Alliance wrote in its latest annual report on copyright protection and enforcement, released on Feb. Sheila says dozens of Indonesian producers under Aprofi, herself included, have been talking to students in schools and universities across Indonesia, explaining the threats that piracy poses to the industry. “Some people cling to this ‘Robin Hood’ view that piracy affects only a few wealthy Hollywood studios and famous international actors,” Neil Gane of the Motion Picture Association of America told the Globe in an e-mail. “Particularly with enforcement so weak and crackdowns occurring inconsistently and sporadically,” he says.Ĭonvincing Indonesians that viewing and downloading illegal content is no different from theft is one narrative even the most seasoned filmmakers struggle to get across. “People in Indonesia, like anywhere else in the world, are drawn to pirated content because it’s cheap, and for those in remote areas it provides the only access to such films,” says Ari Juliano, an intellectual property lawyer and consultant.īut the one factor that makes piracy so rampant in Indonesia, Ari goes on, is that many Indonesians don’t see it as a crime.
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The demise of movie theaters in small towns like Jati Barang has created a vicious cycle, pushing up demand for pirated content due to the absence of legitimate alternatives.
“We sell our movies based on territories and countries, but we can’t anymore because before we can sell them people all over the world have already watched them online,” she says. Think of the amount of tax revenue the government has lost all these years,” he says.įor Sheila, Internet piracy presents a new threat not posed by physical piracy. “Back in 2006, I was able to sell DVD rights to my movies for Rp 740 million each now I’d be lucky to sell it for Rp 50 million.
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It is hard to put an estimate of how much potential revenue, both to the state and industry, is lost due to piracy, but for Parwez – whose production house Kharisma Starvision Plus has produced more than 100 films since it was founded in 1995 – the situation has deteriorated with the arrival of Internet piracy. By nine o’clock at night, a fight had already broken out, and by 10 someone had been killed.” “After the theater closed down, the youths in Jati Barang had nowhere to go. Many sidewalk vendors rely on people gathering and socializing there,” he says. For a small town like say Jati Barang, a theater is a civic center. But because of piracy I had to shut down my theaters. “People see piracy as a tool to provide cheap entertainment. Parwez, whose career in the film industry started out in the 1970s when he ran a chain of movie theaters in small West Java towns, knows firsthand the knock-on effect piracy has on the business.
“The pirates have got a lot smarter so the government needs to be smarter too.” People no longer need an office or a machine to make money out of advertisements. “Everyone is downloading and redistributing them on their YouTube accounts or websites. “Internet piracy has made it easy for the average people to become thieves,” says veteran film producer Chand Parwez Servia.
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Indonesian filmmakers have been battling against piracy since the 1980s with the arrival of home video, but the impact is now worse than ever as pirated content – distributed through peer-to-peer downloading, streaming and direct download sites – dominate Indonesia’s burgeoning online landscape. For a higher-definition version, people have to wait 24 hours after the DVD is released,” Sheila tells the Jakarta Globe.Īnd with theaters all over the world switching from film projectors to digital ones, making movies extremely vulnerable to illegal reproduction, the wait will be shorter still. “It takes 48 hours after a movie is released before we see a camcorder version spreading online.
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