For this film, Suzzanna was crowned as Asia's most popular actress at the 1972 in. Controversial for its frank depictions of sexuality and coarse language, the film was banned in but nonetheless the most popular domestic production of the year. In this film, Suzzanna portrays a woman who travels to in search of her husband, only to fall victim of a ring. In 1970, she was cast in, a production by Sarinande Films directed by. Tidar Jaya subsequently produced Beranak dalam Kubur (1971), Bumi Makin Panas (1973), and Napsu Gila (1973) all of these featured Suzzanna.Suzzanna's greatest popular success of the 1970s, however, came from another company.
This loosening from local ties allows the movement of these spirit entities into media and cyberspace in which the direction of their further development is anything but certain since it is determined by non-local mythmakers.In this film, Suzzanna took the role of Ratna, a woman who must protect her husband's land deeds while he is working in. The article finally also examines how in the non-local space of motion pictures, different mythologies may come to be merged, unchallenged by the truth constraints that being anchored in a locality usually places upon such tales. Although the mythological figures may be less immediately relevant locally, people still retain practical knowledge about them, such as the taboos associated with the queen and how to create amulets and other safeguards against her or her daughter's anger. It shows how as one moves further away from the Queen's immediate domain, knowledge of this allegedly universal mythological figure rapidly diminishes and is merged with local spirit figures of more immediate concern. It explores the extent to which teenagers in three communities are familiar with myths about the Goddess of the Southern Ocean, Nyai Roro Kidul, and her supposed daughter, Nyi Blorong. This article examines the relationship between regional mythologies and local spirit concerns.
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