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This article outlines the film practice of Gotot Prakosa (1955–2015), which he called  film pinggiran  (film of the edges, excentric film), and its relationships with the hegemony exerted by the Indonesian New Order government in the 1970s and 1980s. By examining Gotot’s film works and extensive reflections on film-making, this article elucidates the dual characteristic of  film pinggiran  as a spatial and theoretical principle that orientates an excentric drive in the production and circulation of film. The article suggests that the film practice realized both an analysis of, and contradiction to, New Order mass media infrastructures and superstructures, thus engendering an ideological strike on the reproduction of the hegemony of the New Order.  Film pinggiran  thus does not necessarily ‘push the boundary’ further away; instead, it makes the edge the manifest content itself.

The Excentric Film Project of Gotot Prakosa