The communication landscape is in perpetual motion, mirroring the relentless pace of the digital era. The unbridled flow of information has birthed a tapestry of challenges ranging from misinformation to ethical quandaries and ever-evolving regulatory debates.
Summing up the diverse communication issues that marked the year, the Department of Communication Science at UGM unveiled the “Kaleidoscope of Communication 2023” on Friday (Dec. 22).
To navigate the whirlwind evolution of the digital realm, the government embarked on a series of initiatives over the past three years. However, the Information and Electronic Transactions (ITE) Law, positioned as the bedrock for regulating internet content, has emerged as a source of contention.
Minister of Communication and Information Technology Regulation No. 5 of 2020 established the mandate for digital platforms to register with the ministry for public accessibility. Despite being announced in 2020, this policy stirred controversy in 2022 as the ministry blocked several application services.
“The ITE Law has undergone multiple revisions, with one in 2016 sparking controversy over defamation and insults. In advanced democracies, false statements are deemed defamatory, but in the ITE Law, this isn’t clearly defined,” noted Engelbertus Wendratama, a researcher specializing in regulation and media regulator monitoring.
Ambiguous sentences and the distinction between public figures and private individuals add to the perplexity. Recent years have witnessed a surge in complaints from public officials about criticism, insults, and complaints on social media, prompting questions about whether the ITE Law hampers democracy.
Beyond regulatory and information quandaries, the post-pandemic landscape challenges the film industry. Igak Satrya Wibawa, a lecturer at the Airlangga Department of Communication Science, delineated the altered dynamics of the film industry in the wake of the pandemic.
As lockdowns confined people indoors, activities like movie-watching transitioned within homes; however, the onset of the new normal in 2022 witnessed a resurgence of interest in cinema-going. Last year’s release, “KKN di Desa Penari,” amassed a staggering 10 million viewers, setting an enduring record.
“Does the public still yearn for cinemas post-pandemic? Surprisingly, 64.1% express a desire to return to cinemas. However, 75% state a much higher comfort level with streaming. Even with a preference for streaming, they admit to occasionally revisiting cinemas. There’s an intangible quality about cinemas that streaming can’t replace,” affirmed Wibawa.
The immersive experience of a large screen, enveloping sound, and the distinct ambiance of cinemas contribute to an irreplaceable allure. Additionally, ancillary services like snacks, premium packages, and plush seating elevate the cinema experience.
Confined initially to theatrical releases, the film industry has embraced the digital realm through platforms like Netflix, VIU, and iQIYI. These platforms offer a viewing platform and establish their film markets, a pivotal factor for the industry’s sustenance.
“This shift is positive; it positions digital platforms as equals to cinemas. For instance, many films that were once exclusive to Netflix introduce a paradigm shift that leaves us pondering the consequences of this evolution,” added Wibawa.
The debate surrounding the digital realm’s trajectory will persist as society grapples with digital transformation. Striking a regulatory balance that resonates with the public remains an uphill task for the government. Simultaneously, the public must recognize that digital transformation is inevitable, requiring a collective embrace of savvy internet practices.
Author: Tasya