Hantu Jeruk Purut (Ghost of Jeruk Purut) is a Indonesian horror film directed by Koya . Hasan , 'Hantu Jeruk Purut'. Bibliography. Benke, Benny (30 November ). "Hantu Pembenci Novelis" [Novelist-Hating Ghost]. Suara Merdeka (in. novel hantu jeruk purut pdf Asal Mula Cerita Hantu Jeruk Purut Artikel Asal Mula Cerita Hantu Jeruk Purut: Menurut mitos yang beredar di masyarakat luas. Aug 12, Nurse] (Azis, ), and Hantu Jeruk Purut [Kaffir Lime Ghost] (Nuala, ). .. This whole set of novel elements found in Jelangkung was.

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Dokumen tanpa - Free download as PDF File .pdf), Text File .txt) Extremely Loud and Incredibly Close: A Novel . HANTU JERUK PURUT (). Anna, a horror novelist, found dead at her house after she recorded a ghostlike atmosphere in Jeruk. Quality free movie downloads Hantu Jeruk Purut by Nayato Fio Nuala Download Formats: ibooks, lit, fb2, mobi, odf, epub, pdf, azw, pkg. Tamally maak video song download. Mobile faster browser download. Download full hollywood movies with english subtitles. Download video from website to.

May Benke, Benny 30 November Suara Merdeka in Indonesian. Archived from the original on 3 November Retrieved 3 November Dwita 2 December Legenda yang Tercoreng" [Hantu Jeruk Purut: A Smeared Legend].

Suara Karya in Indonesian. The Jakarta Post. Retrieved 28 October Hasan, Nur 29 November A Disaster-bringing Mandate]. Archived from the original on 11 October Hasan, Nur 22 September Archived from the original on 6 October Sembiring, Dalih; Siregar, Lisa 14 August A Guide to Jakarta's Ghosts".

The Jakarta Globe.

Retrieved from " https: Indonesian-language films films Indonesian films horror films Films shot in Indonesia Indonesian horror films. Hidden categories: Articles to be expanded from May CS1 Indonesian-language sources id. Namespaces Article Talk. Views Read Edit View history. Languages Bahasa Indonesia Edit links. The ritual, pronounced Cay Lan Kung in its original form, became jelangkung.

According to El-Atimi , in time, the ritual evolved into a summoning- of-spirits game. Summoning spirits signifies an intersection between the past and the present. Jelangkung revived Indonesian horror genre production.

But Jelangkung did more than this for Indonesian films.

It also indirectly challenged the New-Order horror narrative. An agent of disorder, according to Heider , refers to the monsters that challenge the normality in the New Order horror narrative where monsters are always defeated, and this defeat brings back order to the community. The closed ending of the New Order horror narrative that always show a return of the order had been challenged by the open ending of the contemporary horror narrative.

Moreover, despite the new narrative style, the supernatural beings in Jelangkung are still derived from the traditional ghost icon, with the additional focus on urban legends. Mantovani and Purnomo used Indonesian urban legends as the backdrop for Jelangkung, and at the same time creating an urban legend for itself. By adapting the setting and the supernatural background to Indonesian context, Jelangkung became the pioneer for Indonesian documentary-like horror subgenre, despite having a ghost that still mirrored the s ghost.

In the Reformation era post , they play major roles in popular films. They are usually depicted as active, independent, vocal and bold. Lee argued that the fall of the New Order regime made activists and pemuda the locus of desire in film and popular media, which included contemporary horror cinema. This youth landscape has become a pattern in Indonesian popular cinematic genre.

Commercially, the pemuda are the ones filmmakers target because they are the ones who spend more time and money to watch films. Politically, most countries consider their youth as the core of the nation- state and the voice of the people. Indonesian Constitution No. Soekarno, the first Indonesian president, has spoken highly of them: Sebastian, et. Indeed, the Indonesian pemuda helped topple Soeharto in From another perspective, though, Sebastian, et.

Romanticised and vilified in their nationalistic struggles as evidenced in their various embodiments as firebrand revolutionaries pemuda and earnest reformists primarily the area of the mahasiswa or the archetypal university student. Rizal Mantovani and Jose Purnomo, for example, were in their late twenties when they directed Jelangkung, and the major characters in Jelangkung are Indonesian famous young artists at that time, such as DJ Winky Wirawan; Rony Dozer, a comedian; and Harry Pantja, a host of the then famous Dunia Lain reality show on TV which perfectly fits the film genre.

This elaboration shows that the post-New Order horror films in many ways correlate with pemuda and their political dynamics. The young urban and modern characters in Jelangkung undergo excruciating and horrifying experiences when they encounter the supernatural.

They share a similar fate with some of the pemudas who criticized and protested against the New Order regime: The deaths of the characters in Jelangkung seem to be a message to the pemuda that their task is far from over and that the threat of the powerful past remains as long as the historical trauma is not reconciled.

The curious and independent characters in Jelangkung represent the critical and politically active pemuda during the Reformation period, whom Sebastian et. The supernatural powers in the films act as a metaphor of the threat from the past, which materializes in the tragic fate of the young characters.

The Allegorical Moments The film opens with a flashback to the year in a fictitious Javanese village, Angkerbatu. It is nighttime, and a group of angry people led by a shaman, holds down an eight-year-old boy whose eyes and mouth are wide open as he gurgles continuously while thrashing about to free himself. The intensity of this scene is reminiscent of the incident when a mob looted and burned shops, and raped Chinese- Indonesian women. At the same time, the action of the shaman, who is one of the patriarchal figures during the New Order regime, eerily resembles the arbitrary violent actions that occurred during said regime.

Thus, this scene reawakens fears associated with the past ideology. The New Order horror narrative often focused on the importance of the controlled masses, emphasizing obedience and homogeneity. Individuality as the Other was undermined to create a populace that was easier to control. Anderson also added that the massa is activated at certain anxious or difficult moments and that it is only realized when the middle class finds its fears about to come true.

Thus, the hysterical buildup of the mass in the opening of the film hints at the moment when continuous disaster would fall upon the village. The villagers mysteriously disappear one by one after the incident. From a plot perspective, the whole opening scene leads to the disruption of the New Order horror narrative that glorifies order restoration.

Instead of the expected restoration of order, the villagers experience terror and chaos. The chaos that occurs at the end of the opening sequence could be interpreted as the Reformation force going against the powerful elite.

There is no place for the massa nor for the religious leader or authority figure. As if countering the authoritarian and patriarchal style of the New Order regime, Jelangkung undermines the role of authority and uplifts the power of individual thinking and action, regardless of the outcome.

The next scene jumps to the present time.

The scene is at night and is set inside an abandoned old house somewhere in Jakarta. A popular song is playing in the background, which signifies an even stronger break from the New Order horror narrative.

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Jelangkung is the first contemporary horror film loaded with popular songs which became an important part of the film. Instead of torches, the young characters hold flashlights, and instead of casting out ghosts, they are looking for them, indicating another shift in the narrative style. The New Order horror narrative mainly dealt with the supernatural beings or rituals that were a source of spiritual power and knowledge.

In contrast, the search for supernatural beings in the contemporary horror films is mostly driven by curiosity and thrill. Often the encounter is not intended but accidental. Jelangkung is a case in which the protagonists deliberately seek out the supernatural beings. Most characters in the New Order horror narrative undoubtedly believed in and respected the existence of a supernatural world and its beings.

They saw the supernatural world as existing side-by-side with our world. On the other hand, most characters in contemporary horror films are more skeptical and logical.

This does not mean that they completely disregard the possibility of the existence of the supernatural world, although some characters do see it as a myth or a make-believe world.

The young characters in Jelangkung are not only skeptical but also bold. Although they know that there is always a risk in their action, they are unafraid to move on and face the powerful unknown. Although the characters in Jelangkung work as a group, the film focuses more on individual struggles and their inner state. Most of the film is in stark contrast to the opening scene wherein people act as an unidentified mass and are driven by social rather than individual force. There is another scene in Jelangkung which carries a significant allegorical meaning about young Indonesians and how they contend with the return of the repressed.

The supernatural in contemporary horror films is related to the return of the repressed. In this scene, Zul could signify the common people who in their right mind would not risk their lives seeking out supernatural beings.

The allegory may be explained by the fact that the regime had been in power for more than thirty years and their hegemonic policies had put people under their spell. Besides, just as it is taboo to fiddle with the supernatural beings, it is also unwise and foolish to confront a strong and powerful opponent like the New Order regime. This sort of attitude, though results in repressed traumas that will continue to haunt people.

In addition, just like the doll, they become a mediator between the powerful elite and the common people. People have to respect and enforce these rules and policies if they want to live safely and peacefully.

The representation of trauma, haunting, punishment and death in Jelangkung occurs at the turning point of the film when the protagonists decide to visit Angkerbatu village to hunt supernatural beings. Zul warns them not to go there, saying they will only dig their own graves, and this warning foreshadows their fate.

Often, the educated characters or intellectuals, aside from the local wise men, come from the city and become the heroes who defeat the monsters. This part of Jelangkung acknowledges villages and suburban areas as an integral part of the nation, but at the same time fosters the stereotype of the uneducated and superstitious villagers. But the film later on turns the role of urban versus village upside down when the intelligent and modern pemuda from the city become helpless against the monsters that reside in the forest.

They are caught in a traditional world with which they are unfamiliar. Two of the characters, Ferdi and Soni, play more significant roles. Ferdi is the leader of the pack, with Soni as his right hand man as well as his opposition.

In some scenes, the two argue over leadership and decision- making. Ferdi is portrayed as logical, smart, and brave while Soni, is agile, focused, and physically well-built, a soldier-wannabe character, as seen in his affinity with military things, such as green shirts, a collection of magazines about weapons, a military-like bed, a combat knife and of course, his military-bald head.

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In addition, it is Soni who provokes the others to trespass a forbidden pathway, despite the warning from an old couple. So, even though Ferdi is the one who initiates the trip to Angkerbatu, it is Soni who invites chaos and terror to their life.

Ferdi could represent the pemudas, and Soni, despite being a pemuda himself, could represent the military. After the long drive from Jakarta, Ferdi and the others arrive at a lone house in Angkerbatu where an old couple lives. The old man resembles the shaman in the opening scene. This strategy of using the same actor for two roles intensifies the suspense and cues the audience to connect the old man with the opening scene.

Clearly, it signifies the return of the past.

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In the New Order narrative, the concept of order and disorder is apparent. But Jelangkung uses neither the disorder to order nor the good versus bad concept. It intentionally stays in a grey area where the boundary between good and bad, order and disorder remains unclear. Jelangkung even severely punishes its characters even when they are innocent, as seen later on in the way the film ends.

When the four protagonists return to the city, they start to experience strange and unexplained events, and when they go about their ghost- hunting trip, they realize that now they can see the supernatural beings and that the beings follow and disturb them. Terrorized, these protagonists submit themselves to the traditional means of dealing with a supernatural problem through a shaman.

Their action reminds the audience of the opening scene, where people do anything that the shaman tells them to do. The influence of the past on the present cannot be clearer than in this scene.

The shaman tells them to go back to the lone grave and remove the jelangkung puppet. His remark somehow reminds people of the values of the New Order regime concerning respect and obedience towards the elderly and the powerful. Their decision to contact the shaman is in a way a sign of their submission to the traditional way of dealing with the supernatural. They are killed for digging up the past.

If the characters did not follow his advice, they may still be alive but forever haunted by the supernatural, ironically fulfilling their obsession to encounter the supernatural. Thus in this case, the shaman could also be allegorically an agent of the New Order who muffles the subversive force, as if resuming his role in the New Order horror narrative.

It also reinforces the theme of a post-Reformation Indonesia that is characterized by two contrasting values: The usually-defeated monsters now become more powerful and die harder while at the same time the young and independent characters that replaced the traditional wise-old men as protagonists turn into the victims of the monsters.

The New Order horror narrative punished only those who committed evil—the supernatural beings. On the other hand, the contemporary horror narrative in general, shows no pity towards its young protagonists and often ends with their tragic deaths. And this success opened up a new channel for exorcising the historic traumas that were repressed for decades.

Potret pemuda Indonesia [Picture of Indonesia Youth]. Penerbit Ombak. Anderson, B. Southeast Asia Program Publications. Aspinall, E. Student dissent in Indonesian in the s. Badan Perencanaan Pembangunan Nasional Bappenas. Proyeksi penduduk Indonesia [Indonesian Population Projection ]. Badan Pusat Statistik. Barker, T. The trauma of post Indonesian horror films. In A cultural economy of the contemporary Indonesian film industry. Unpublished doctoral dissertation. National University of Singapore, Singapore.

El-Atimi, P.

From Wikipedia, the free encyclopedia

Sejarah Mitos Jelangkung. Retrieved from www. Endraswara, S. Fathnurfirda, I. Unpublished thesis. Universitas Indonesia, Indonesia. Heider, K. Indonesian cinema: National culture on screen. University of Hawaii Press. Imanda, T.

The state market and the Indonesian film industry. In Giukin L. Genres, identities, narratives Lexington Books. Imanjaya, E. Retrieved from https: Ismayanto, D. Horor Bangkit dari Kubur.

Retrieved from http: Kristianto, J. Katalog film Indonesia:Sasono, E.

Sorry is feeling sad or distressed through sympathy with someone else s misfortune. Fame, Fortune, Fantasi: Framing the New Order. Other clauses are dependent subordinate they cannot stand themselves and therefore the meaning upon the reminders of the sentences in which they appear.

Both Ayu and Hilda are interested in literature c. The intensity of this scene is reminiscent of the incident when a mob looted and burned shops, and raped Chinese- Indonesian women. This strategy of using the same actor for two roles intensifies the suspense and cues the audience to connect the old man with the opening scene. They are usually depicted as active, independent, vocal and bold. Constructed by two morpheme and it can t be separated into two or more morphemes.

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