ABSTRACT
In post-Suharto Indonesia there has been a veritable increase in the diversity of gender and sexual representations, although depictions of transgender, gay and lesbian characters in Indonesian cinema have a longer history than most people realize (Murtagh, 2008). In the literary world, Ayu Utami’s novel Saman (1998), which was published just weeks before the fall of President Suharto, ushered in an era of writings centred on independent, sexually assertive women (e.g. Ayu, 2004; Basuki, 2001; Herliany, 2001; Yusuf, 2003). In the world of film, Nia diNata’s Arisan (2003) and Berbagi Suami (2006) and Saputra’s (2004) Virgin showed successful, sexy and sexual women and, along with Detik Terakhir (Istiabudi, 2005), Realita Cinta dan Rock ’n Roll (Avianto, 2006) and Coklat Stroberi (Octaviand, 2007) transgender and gay characters appeared on screen, as well as a diverse portrayal of men. Indeed, Murtagh (2008) reveals that since 2002, around 20 films have screened that include gay, lesbian or transgender characters, although most of these films regard homosexuality and transgenderism with some level of ambivalence. In television, particularly in advertising as Clark (2004a) shows, women are increasingly being shown in positions of control, while men have moved away from being depicted only as strong, adventure-loving lads to an emphasis on their ineptitudes and shortcomings. There are now also sinetron (soap operas), such as Suami-Suami Takut Istri (Husbands Afraid of their Wives), which depict defenceless husbands and powerful wives, although the husbands secretly play around with beautiful women (Idrus, pers. comm., 2009).
