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Additional info for Videochronic: Video Activism and Video Distribution in Indonesia
They are the ones who savour the surplus in knowledge. ” Various critiques (Gunkel, 2003; Sassi, 2005) regarding the risk of social divisions reproduced by knowledge-power relations, point out that multifaceted issues other than technically determined factors need to be considered in attempts to democratise video for social change. Aspects such as the society’s cultural readiness to interact with new media, the divergent economic settings of grassroots communities, and the various desires and approaches to consuming information are some of the issues that cannot be addressed simply by procurement of media technology or technical-content training.
Therefore, the distribution of the videos produced tends to also be through physical means. To realise the goals of online distribution requires additional support and access to hubs that would enable ongoing connections between the communities and diverse networks of global social movements. For tactical video activists, online distribution is seen as one of the many ways to launch their content publicly. Aware of the multiple barriers to reach audiences in Indonesia, activists such as Rizky from Gekko Studio, Fendry and Rahung from JAVIN, Maruli from UPC, as well as Lexy from Offstream, turn to internet distribution to target audiences in other parts of the world.
In Yogyakarta, Video Battle is developing online methods to expand the distribution of their compilations as one solution to the difficulties they experienced in off-line distribution and to encourage more video art productions. Video Battle is very optimistic about online distribution. net). As the last example here, we look at the practices of EngageMedia, co-authors of this research and one of the “new players” in online video distribution in Indonesia. EngageMedia originates in Australia; however, it also has Indonesian bases in Jakarta and Yogyakarta.