Panggilan Darah (Indonesian for Call of Blood) is a 1941 film from the Dutch East Indies (now Indonesia) written and directed by Sutan Usman Karim and produced by Tjho Seng Han for Oriental Film. The black-and-white film starred Dhalia and Soerip as orphaned sisters trying to make a living in the colonial capital of Batavia (now Jakarta) before moving to Kudus to work at a clove cigarette factory. Shot on location at an orphanage and two factories in central Java, Panggilan Darah was a modest commercial success in the Indies and Singapore. Its soundtrack, which featured nine kroncong songs, received popular acclaim, and the film's acting received critical praise. Despite this success, Oriental was unable to recoup its expenses, and merged into Multi Film soon afterwards. Panggilan Darah, which was screened as late as 1952, may now be lost. (Full article...)
Drama dari Krakatau ([ˈdramadaˈrikraˈkatau]; Drama of Krakatoa) is a 1929 vernacular Malay novel written by Kwee Tek Hoay. Inspired by Edward Bulwer-Lytton's 1834 novel The Last Days of Pompeii and the 1883 eruption of Krakatoa, the sixteen-chapter book centres on two families in 1920s Batam that are unknowingly tied together by siblings who were separated in 1883. The brother becomes a political figure, while the sister marries a Baduy priest-king. Ultimately, these families are reunited by the wedding of their children, after which the priest sacrifices himself to calm a stirring Krakatoa. First published as a serial in Kwee's magazine Panorama between 7 April and 22 December 1928, Drama dari Krakatau was written over a period of two months after the author was asked to prepare a "sensational" story for a film. Before the final instalment had been published, the novel had already been adapted for the stage. Although Kwee was known as a realist and researched the volcano before writing, Drama dari Krakatau is replete with mysticism. Thematic analyses have focused on the depiction of indigenous cultures by Kwee (himself ethnic Chinese), as well as geography and nationalism. As with other works of Chinese Malay literature, the book is not considered part of the Indonesian literary canon. (Full article...)
Soeara Berbisa ([suˈarabərˈbisa]; Perfected Spelling: Suara Berbisa; Indonesian for Venomous Voice) is a 1941 film from the Dutch East Indies. Produced by Ang Hock Liem for Union Films and directed by R Hu, this black-and-white film stars Raden Soekarno, Ratna Djoewita, Oedjang, and Soehaena. The story, written by Djojopranoto, follows two young men who compete for the affections of a woman before learning that they are long-lost brothers. Filmed in September and October 1941, Soeara Berbisa features keroncong music and was shot partly in western Java. It was released to coincide with the Eid al-Fitr holiday and rated for all ages. Advertisements emphasised the film's appeal to both native and Dutch audiences, and a review in De Indische Courant was positive. Although the film—Union's penultimate production—was screened as late as 1949, it is now likely lost. (Full article...)
Djaoeh Dimata (Indonesian:[dʒaˈuhdiˈmata]; Perfected Spelling: Jauh di Mata; Indonesian for Out of Sight) is a 1948 film from what is now Indonesia written and directed by Andjar Asmara for the South Pacific Film Corporation (SPFC). Starring Ratna Asmara and Ali Joego, it follows a woman who moves to Jakarta to find work after her husband is blinded in an accident. SPFC's first production, Djaoeh Dimata took two to three months to film and cost almost 130,000 gulden. The first domestically produced feature film to be released in five years, Djaoeh Dimata received favourable reviews, although financially it was outperformed by Roestam Sutan Palindih's Air Mata Mengalir di Tjitarum (released soon after). The film's cast remained active in the Indonesian film industry, some for another 30 years, and SPFC produced six more works before closing in 1949. A copy of the film is stored at Sinematek Indonesia. (Full article...)
Vincent Willem van Gogh (Dutch:[ˈvɪnsɛntˈʋɪləɱvɑŋˈɣɔx]Audio file "Vincent_willem_van_gogh.ogg" not found; 30 March 1853 – 29 July 1890) was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade, he created approximately 2100 artworks, including around 860 oil paintings, most of them in the last two years of his life. His oeuvre includes landscapes, still lifes, portraits, and self-portraits, most of which are characterised by bold colours and dramatic brushwork that contributed to the rise of expressionism in modern art. Van Gogh's work was beginning to gain critical attention before he died from a self-inflicted gunshot at age 37. During his lifetime, only one of Van Gogh's paintings, The Red Vineyard, was sold. Born into an upper-middle-class family, Van Gogh drew as a child and was serious, quiet and thoughtful, but showed signs of mental instability. As a young man, he worked as an art dealer, often travelling, but became depressed after he was transferred to London. He turned to religion and spent time as a missionary in southern Belgium. Later he drifted into ill-health and solitude. He was keenly aware of modernist trends in art and, while back with his parents, took up painting in 1881. His younger brother, Theo, supported him financially, and the two of them maintained a long correspondence. Van Gogh's early works consist of mostly still lifes and depictions of peasant labourers. In 1886, he moved to Paris, where he met members of the artistic avant-garde, including Émile Bernard and Paul Gauguin, who were seeking new paths beyond Impressionism. Frustrated in Paris and inspired by a growing spirit of artistic change and collaboration, in February 1888 Van Gogh moved to Arles in southern France to establish an artistic retreat and commune. Once there, his paintings grew brighter and he turned his attention to the natural world, depicting local olive groves, wheat fields and sunflowers. Van Gogh invited Gauguin to join him in Arles and eagerly anticipated Gauguin's arrival in late 1888. Van Gogh suffered from psychotic episodes and delusions. He worried about his mental stability, and often neglected his physical health, did not eat properly and drank heavily. His friendship with Gauguin ended after a confrontation with a razor when, in a rage, he severed his left ear. Van Gogh spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris, he came under the care of the homeopathic doctor Paul Gachet. His depression persisted, and on 29 July 1890 Van Gogh died from his injuries after shooting himself in the chest with a revolver. Van Gogh's work began to attract critical artistic attention in the last year of his life. After his death, his art and life story captured public imagination as an emblem of misunderstood genius, due in large part to the efforts of his widowed sister-in-law Johanna van Gogh-Bonger. His bold use of colour, expressive line and thick application of paint inspired avant-garde artistic groups like the Fauves and German Expressionists in the early 20th century. Van Gogh's work gained widespread critical and commercial success in the following decades, and he has become a lasting icon of the romantic ideal of the tortured artist. Today, Van Gogh's works are among the world's most expensive paintings ever sold. His legacy is celebrated by the Van Gogh Museum in Amsterdam, which holds the world's largest collection of his paintings and drawings. (Full article...)
The Battle of Öland was a naval battle between an allied Danish-Dutch fleet and the Swedish navy in the Baltic Sea, off the east coast of Öland on 1 June 1676. The battle was a part of the Scanian War (1675–79) fought for supremacy over the southern Baltic. Sweden was in urgent need of reinforcements for its north German possessions; Denmark sought to ferry an army to Scania in southern Sweden to open a front on Swedish soil. Just as the battle began, the Swedish flagship Kronan sank, taking with it almost the entire crew, including the Admiral of the Realm and commander of the Swedish navy, Lorentz Creutz. The allied force under the leadership of the Dutch admiral Cornelis Tromp took full advantage of the ensuing disorder on the Swedish side. The acting commander after Creutz's sudden demise, Admiral Claes Uggla, was surrounded and his flagship Svärdet battered in a drawn-out artillery duel, then set ablaze by a fire ship. Uggla drowned while escaping the burning ship, and with the loss of a second supreme commander, the rest of the Swedish fleet fled in disorder. The battle resulted in Danish naval supremacy, which was upheld throughout the war. The Danish King Christian V was able to ship troops over to the Swedish side of the Sound, and on 29 June a force of 14,500 men landed at Råå, just south of Helsingborg in southernmost Sweden. Scania became the main battleground of the war, culminating with the bloody battles of Lund, Halmstad and Landskrona. Danish and Dutch naval forces were left free to raze Öland and the Swedish east coast all the way up to Stockholm. The Swedish failure at Öland also prompted King Charles XI to order a commission to investigate the fiasco, but in the end no one was found responsible. (Full article...)
Fakih Usman (alternatively spelled as Faqih Usman; [faˈkɪhʊsˈman]; 2 March 1904 – 3 October 1968) was an Indonesian Islamic leader and politician of the Masyumi Party. He twice served as the Minister of Religious Affairs under the cabinets of Abdul Halim and Wilopo from January until September 1950, and again from 1952 until 1953. In his early years, Fakih was criticized by conservative Muslims for his involvement with the modernist Islamic Muhammadiyah organization, though he is remembered fondly by the group. Born to a merchant and his wife in Gresik, Dutch East Indies, Fakih studied with his father and at a series of pesantren (Islamic boarding schools) until the 1920s. In 1925 he became involved with the Muhammadiyah, rising quickly through the leadership until he became the head of the Surabaya branch in 1938. He was also active in local politics, in 1937, he became the treasurer of the Indonesian Islamic Assembly. He continued to be involved in politics and Islamic groups during the Japanese occupation and the ensuing national revolution. Following the end of the war, he was appointed Minister of Religious Affairs. As a minister, he oversaw educational and institutional reform, growing in prominence within the Muhammadiyah. He also served as deputy chairman of the organization under several different leaders before being chosen as its chairman in late 1968. He died several days later. (Full article...)
Air Mata Iboe (Perfected spelling: Air Mata Ibu; Malay for A Mother's Tears) is a 1941 drama film from the Dutch East Indies (now Indonesia) directed and written by Njoo Cheong Seng. Starring Fifi Young, Rd Ismail, Ali Sarosa, and Ali Joego, it followed a mother who raises her children lovingly but is ultimately betrayed by her eldest sons when she falls upon hard times. The film, billed as a "musical extravaganza," featured a soundtrack by R. Koesbini, and an eponymous title song written by Njoo. Air Mata Iboe was the last production completed by Fred Young's Majestic Film Company. The film was filmed throughout June to December 1941, and was released that month as well, prior to the Japanese occupation of the Dutch East Indies. It is now possibly lost, although it still might be hidden somewhere. A titular remake was later produced in 1957. (Full article...)
The Battle of Morotai, part of the Pacific War, began on 15 September 1944, and continued until the end of the war in August 1945. The fighting started when United States and Australian forces landed on the southwest corner of Morotai, a small island in the Netherlands East Indies (NEI), which the Allies needed as a base to support the liberation of the Philippines later that year. The invading forces greatly outnumbered the island's Japanese defenders and secured their objectives in two weeks. Japanese reinforcements landed on the island between September and November, but lacked the supplies needed to effectively attack the Allied defensive perimeter. Intermittent fighting continued until the end of the war, with the Japanese troops suffering heavy loss of life from disease and starvation. Morotai's development into an Allied base began shortly after the landing, and two major airfields were ready for use in October. These and other base facilities played an important role in the Liberation of the Philippines during 1944 and 1945. Torpedo boats and aircraft based at Morotai also harassed Japanese positions in the NEI. The island's base facilities were further expanded in 1945 to support the Australian-led Borneo Campaign, and Morotai remained an important logistical hub and command center until the Dutch reestablished their colonial rule in the NEI. (Full article...)
The Amsterdam Tournament (Dutch: Amsterdam Toernooi) was a pre-season association football competition, held in Amsterdam, Netherlands. The competition was hosted by Eredivisie club Ajax at the Amsterdam Arena. It was inaugurated in 1975 as the Amsterdam 700 Tournament to celebrate 700 years of history in the city. It was held annually each summer until 1992, when the last edition of the original tournament was played. It returned in 1999 with the backing of the International Event Partnership (IEP). Four teams participate in the competition, played in a league format since 1986. Since its return, the tournament has used an unusual point scoring system. As with most league competitions, three points are awarded for a win, one for a draw and zero for a loss. An additional point, however, is awarded for each goal scored. The system is designed to reward teams that adopt a more attacking style of play. Each entrant plays two matches, with the winner being the club that finishes at the top of the table. The original competition was held at Amsterdam's Olympic Stadium, where Ajax played its international games until 1996. The Amsterdam Arena, now named the Johan Cruyff Arena, has played host to the event since the return until 2009. The first winners were Belgian club Molenbeek, who defeated Ajax 5–2 in the final. The hosts are the most successful club in the tournament's history, having lifted the trophy on ten occasions. The club won their first title in 1978 and their most recent success came in 2004. Fellow Dutch side AZ and English club Arsenal are the only other teams to have won the competition more than once. Feyenoord, Ajax's domestic rivals, are among a group of clubs to have won the tournament once, while Belgium has produced the most individual winners, four, one more than England and Netherlands. AZ and Arsenal are also the most regular guests, having been invited to compete in the tournament on six occasions. As well as being the most successful club, Ajax has finished as runners-up eleven times. Next in the list are two Italian clubs, Internazionale and Roma, who has finished in second place five times between them. Romania is the only national team to have taken part in the tournament. They were invited in 1984 and finished in fourth place as Atlético Mineiro became the first Brazilian club to lift the trophy. In total, teams from 13 countries have participated in the competition. The 2010 edition did not take place due to Ajax's involvement in the qualifying stages of the Champions League. (Full article...)
File:Phillip James De Loutherbourg - The Battle of Camperdown - Google Art Project.jpgThe Battle of Camperdown, painted by Philip de Loutherbourg in 1799. The Battle of Camperdown was an important naval action of the French Revolutionary Wars, fought off Camperduin on the North Holland coast on 11 October 1797 between a British fleet under Admiral Adam Duncan and a Dutch fleet under Vice-Admiral Jan de Winter. The French Republic had overrun the Dutch Republic two years earlier, reforming it into the Batavian Republic. In early 1797, the Batavian Navy was ordered to sail to Brest and unite with the French Atlantic Fleet in preparation for an invasion of Ireland. Shortly afterwards, the British fleets were paralysed by the Spithead and Nore mutinies, in which the sailors refused to take their ships to sea until they were awarded better pay and conditions. For two months[citation needed], the English Channel was undefended, but the Dutch failed to take the opportunity to sail from their harbour in the Texel: their preparations were not complete, and a small squadron of loyal British ships under Duncan convinced de Winter that the British fleet was at sea by sending nonsensical signals to fictitious ships over the horizon. By October 1797, the plan to attack Ireland had been abandoned and the British North Sea Fleet was again at full strength. During a brief period replenishing supplies at Yarmouth, news reached Duncan on 10 October that the Dutch had sailed on a raiding cruise[citation needed] and he returned to the Dutch coast, intercepting de Winter's fleet on its way back to the Texel. The Dutch formed a line of battle in shallow coastal waters to meet Duncan's attack, which was conducted in a confused mass, the British fleet separating into two groups that struck the vanguard and rear of the Dutch fleet, overwhelming each in turn and capturing eleven ships, including de Winter's flagship Vrijheid. On the return journey, three of the captured ships were lost, and none of the surviving Dutch prizes was ever suitable for active service again[citation needed]. Both sides suffered heavy casualties during the battle as each fleet had been trained to aim at the hulls of their opponents, maximising the damage to personnel. Although the sailors of both fleets fought hard, they were suffering from popular unrest; the mutinies in Britain continued to overshadow the Royal Navy, while the Dutch sailors were unhappy with French dominion and, in marked difference to their officers, were generally supporters of the exiled House of Orange. In addition, the Dutch were disaffected and poorly trained due to the long months blockaded in their harbours, which made them inferior seamen and gunners when compared with the highly experienced British crews, and the Dutch ships were more weakly constructed than their British counterparts with a shallower draught, a necessity in the shallow waters of the Dutch coast but a liability when fighting warships built for the open ocean. The Dutch did, however, have the advantage of weight of shot, especially when their well-armed frigates and brigs are included statistically. Unlike their British equivalents, these lighter craft were intended to contribute in battle, covering the gaps in the line between their larger companions. (Full article...)
A man with short hair and a white shirt is controlling a large camera. He is facing left.The Wong brothers (one pictured) were the first ethnic Chinese directors in the Indies. Twenty-nine people are recorded as having directed fictional films in the Dutch East Indies between 1926, when L. Heuveldorp released Loetoeng Kasaroeng, the colony's first domestically produced film, and 1949, when the Dutch formally recognised Indonesia's sovereignty after a four-year revolution, leaving the Dutch East Indies defunct. Thirteen directors active in the Indies continued to direct films after 1950, including Usmar Ismail: his 1950 film Darah dan Doa (The Long March) is generally considered the first truly Indonesian film. The colony's first directors, L. Heuveldorp and George Krugers, were of European or mixed descent. They were followed by ethnic Chinese soon after, when Nelson Wong made his debut in 1928 with Lily van Java; other Chinese directors included Lie Tek Swie (1929), Wong's brothers Joshua and Othniel (1930), and The Teng Chun (1931). Ethnic Chinese directors dominated the colony's cinema for the remainder of its existence. The first native director, Bachtiar Effendi, made his debut in 1932 with the talkie Njai Dasima; another native director would not appear until Andjar Asmara and Rd Ariffien made their debuts in 1940. The directors active in the Indies came from various backgrounds. Some, like The Teng Chun, Fred Young, and the Wongs, had been interested in film since their youth. Others, such as Njoo Cheong Seng and Andjar, had a background in theatre. Still others, including Albert Balink and Ismail, were journalists by trade. They were all men; the first woman to direct a film in the Indonesian archipelago, Ratna Asmara, made her debut after the Indies were dissolved. Between them, the 29 men directed some 103 films, at times working collaboratively; it was not unusual for them to take more than one role in production. However, they generally had less creative control than the producer. The following list is sorted alphabetically by default, with further sorting capability in certain fields; owing to differing naming conventions between cultures, not all entries are sorted by last name. The list only counts fictional films directed by the subjects and does not include films from other genres or films in which the person held other roles. The names of persons credited with an abbreviated name are written in full, where available. (Full article...)
Since 1 January 2023, there have been 342 regular municipalities (Dutch: gemeenten) and three special municipalities (Dutch: bijzondere gemeenten) in the Netherlands. The latter is the status of three of the six island territories that make up the Dutch Caribbean. Municipalities are the second-level administrative division, or public bodies (Dutch: openbare lichamen), in the Netherlands and are subdivisions of their respective provinces. Their duties are delegated to them by the central government and they are ruled by a municipal council that is elected every four years. Municipal mergers have reduced the total number of municipalities by two-thirds since the first official boundaries were created in the mid 19th century. Municipalities themselves are informally subdivided into districts and neighbourhoods for administrative and statistical purposes. These municipalities come in a wide range of sizes, Westervoort is the smallest with a land area of 7.01 km2 (2.71 sq mi) and Súdwest-Fryslân the largest with a land area of 522.7 km2 (201.8 sq mi). Schiermonnikoog is both the least populated, with 972 people, and the least densely populated municipality at 23/km2 (60/sq mi). Amsterdam has the highest population with 931,298 residents as of January 2024, whereas The Hague is the most densely populated with a density of 6,868/km2 (17,790/sq mi). (Full article...)
Twenty-two people are recorded as having produced fictional films in the Dutch East Indies between 1926, when L. Heuveldorp released Loetoeng Kasaroeng, the colony's first domestically produced film, and 1949, when the Dutch formally recognised Indonesia's sovereignty after a four-year revolution, leaving the Dutch East Indies defunct. Altogether, they are credited for 93 of all known films produced in the Indies, and four of them remained active after independence. All were men; the first female film producer in Indonesia, Ratna Asmara, produced her first film in 1953. The colony's first producer, Heuveldorp, was of European descent. He was followed in 1928 by the ethnic Chinese businessmen Tjan Tjoen Lian and Liem Goan Lian, who began work on Lily van Java but soon pulled out, to be replaced by David Wong. By 1930 Chinese producers had dominated the industry. The most active of these, The Teng Chun, made his debut in 1931 with Boenga Roos dari Tjikembang; he would go on to produce another 27 films before independence. No native Indonesian film producers are recorded from this period, although several productions were credited only to companies. Producers in the Indies would often handle multiple roles, such as director and cinematographer. When these positions were filled separately, the producer retained creative control. The Indonesian film historian Misbach Yusa Biran writes that works produced during this time were emphatically commercial, not paying attention to nationalistic or aesthetic values. However, the film scholars Thomas Barker and Charlotte Setijadi-Dunn suggest that the Chinese-produced films from the Indies offered the possibility of a heterogeneous national identity. The following list is sorted alphabetically by default, with further sorting capability in certain fields; owing to differing naming conventions between cultures, not all entries are sorted by last name. The list only counts fictional films directed by the subjects and does not include films from other genres or films in which the person held other roles. The names of persons credited with an abbreviated name are written in full, where available. (Full article...)
This page is a list of films that received the Golden Film since its introduction in 2001 by the Netherlands Film Festival and the Netherlands Film Fund. In 2001 and 2002, films from the Netherlands received the award once they had sold 75,000 tickets. From 2003 to date, the Golden Film is awarded to films from the Netherlands once they have sold 100,000 tickets. This page shows, for both audience criteria, which films received the Golden Film and how soon they received it after their releases. In the following tables, the 'year' column contains the years in which the films received the Golden Film, the '#' column contains the number of the Golden Film, the 'film title' column contains the titles of the receiving films, the 'film release' column contains the dates on which the films were first released in the cinemas, and the 'Golden Film' column contains the days when the Netherlands Film Festival and the Netherlands Film Fund announced that the receiving films reached the audience criterion of the Golden Film. When a film also received other box office awards, the award for the highest number of sold tickets is listed in the 'other' column. The Platinum Film was awarded for 200,000 sold tickets in 2001 and 2002, and is awarded for 400,000 sold tickets since 2003. The Diamond Film is awarded for 1,000,000 sold tickets since 2007. These awards can be awarded in the same year as the Golden Film or in a later year.[citation needed] (Full article...)
A poster with Malay-language text, reading Loetoeng Kasaroeng in large letters; an image is also visible.Film poster for Loetoeng Kasaroeng, the first locally produced film released in the Dutch East Indies A total of 112 fictional films are known to have been produced in the Dutch East Indies (modern-day Indonesia) between 1926 and the colony's dissolution in 1949. The earliest motion pictures, imported from abroad, were shown in late 1900, and by the early 1920s imported serials and fictional films were being shown, often with localised names. Dutch companies were also producing documentary films about the Indies to be shown in the Netherlands. The first reports of fictional film production in the Indies date from 1923, although the work in question was not completed. The first locally produced film, Loetoeng Kasaroeng, was directed by L. Heuveldorp and released on 31 December 1926. Between 1926 and 1933 numerous other local productions were released. Although Dutchmen like Heuveldorp and George Krugers continued to be active in the industry, the majority of filmmakers and producers were ethnic Chinese. The Tan brothers (Khoen Yauw and Khoen Hian) and The Teng Chun were major producers during this period, while the Wong brothers (Nelson, Othniel, and Joshua) were among the more prominent directors. During the mid-1930s, production dropped as a result of the Great Depression. The release of Albert Balink's commercially and critically successful Terang Boelan (Full Moon) in 1937 led to renewed interest in filmmaking, and 1941 saw thirty locally produced films. This rate of production declined after the Japanese occupation beginning in early 1942, closing all but one film studio; this resulted in several films which had begun production in 1941 being released several years later. The majority of films produced during the occupation were short propaganda pieces. Following the Proclamation of Indonesian Independence in 1945 and during the ensuing revolution several films were made, by both pro-Dutch and pro-Indonesian backers; the Dutch formally recognised Indonesia's sovereignty on 27 December 1949, leaving the Dutch East Indies defunct. Generally films produced in the Indies dealt with traditional stories or were adapted from existing works. The early films were silent, with Karnadi Anemer Bangkong (Karnadi the Frog Contractor; 1930) generally considered the first talkie; later films would be in Dutch, Malay, or an indigenous language. All were black-and-white. According to the Indonesian film scholar Misbach Yusa Biran, the films released during this period could not be classified as truly Indonesian films as there was no sense of nationalism within them. The American visual anthropologist Karl G. Heider writes that all films from before 1950 are lost. However, JB Kristanto's Katalog Film Indonesia (Indonesian Film Catalogue) records several as having survived at Sinematek Indonesia's archives, and Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service. (Full article...)
Enchanted by his new homeland of New Netherland, Van der Donck made detailed accounts of the land, vegetation, animals, waterways, topography, and climate. Van der Donck used this knowledge to actively promote immigration to the colony, publishing several tracts, including his influential Description of New Netherland. Charles Gehring, Director of the New Netherland Project, has called it "the fullest account of the province, its geography, the Indians who inhabited it, and its prospects…It has been said that had it not been written in Dutch, it would have gone down as one of the great works of American colonial literature."
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