Abstract
Raden Saleh as one of the Indonesian painters who is known internationally is a matter of pride for Indonesia. Even though Raden Saleh's works have exceeded a century, the value of his works is still appreciated by foreign countries. In relation to Raden Saleh's work, Indonesian filmmakers have attempted to raise the theme of Raden Saleh's painting in the film “Mencuri Raden Saleh” (Stealing Raden Saleh’s Paintings,2002) which depicts the efforts of a syndicate of painting collectors trying to steal and falsify Raden Saleh's painting “The Arrest of Diponegoro”. This paper attempts to examine the symbolic capital of Raden Saleh's paintings during the Millennial generation and how the practice of the painting collector syndicate presented in the film elevates the value of the painting and symbolic value for Indonesia. The Symbolic Capital approach by Pierre Bourdieu is used to examine the relation between the practice of painting forgery and Raden Saleh's symbolic capital, which is related to Indonesian identity.
Original language | English |
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Title of host publication | PROCEEDING INTERNATIONAL SEMINAR HISKI |
Subtitle of host publication | “HUMAN VALUE & PEACE THROUGH LITERATURE” |
Publication status | Published - 2023 |
Keywords
- Film
- symbolic capital
- identity