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A Nation Imagined Differently

Re-examining longstanding scholarly assumptions about how media has
 shaped collective images of nationhood in Southeast Asia, this chapter
 argues that early Indonesian directors like Usmar Ismail, Nya Abbas Akup,
 and Asrul Sani adapted the modern medium of cinema not only to envision,
 but to continually trouble the viability of the Jakarta-centered ‘unity in
 diversity’ called for by President Soekarno in the 1950s. Closely reading
 Ismail’s Tamu Agung (Honoured Guest, 1955) and Akup’s Tiga Buronan
 (Three Fugitives, 1957), we focus on two apparent paradoxes in what came to
 be known as Indonesia’s classical national cinema: filmmakers’ apprehensive
 view of nationalism; and their enthusiastic appropriation of local traditions
 and culturally-specific concepts – including ones considered ‘backward’ or
 provincial – despite the stated goal of modernizing national representation.