@inproceedings{oai:kokubunken.repo.nii.ac.jp:00004025,
 author = {フィティヤ二, アンワル and FITHYANI, Anwar},
 book = {第４２回　国際日本文学研究集会会議録, PROCEEDINGS OF THE 42nd INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {42},
 month = {Mar},
 note = {pdf, Indonesia officially became under Japanese occupation on March 1942. The military government established a Sendenbu (propaganda department) in August of that year and spread the war propaganda through media such as newspaper, magazine, radio, film, play, etc. Japanese literature works were also introduced through those media such as short stories by Ashihei Hino and Fumio Niwa in Jawa Baru magazine. Also, a play by Kikuchi Kan titled Chichi Kaeru (Father Return）which was published in Shinshicho magazine in 1917 was also recorded as demonstrated at Keimin Bunka Shidosho (Jakarta cultural center, established April 1943).
I have been interested in the acceptance and transformation of Japanese literature in Indonesia during the occupation period. I have been researching on Japanese literature works introduced in Jawa Baru magazine and Asia Raya newspaper and revealed that Usmar Ismail, who worked at Keimin Bunka Shidosho at the time, had made the adaptation version of Chichi Kaeru entitled Ayahku Pulang (Father Return). The audience’s appreciation at the time was unclear due to the scatter of the document. However, the most interesting thing is that there were two adaptation films based on the adaptation play story made after the war, Dosa Tak Berampun (Unforgivable Sin, 1951） and Ayahku (Father, 1987). At the beginning part of each film, it clearly shown that it was influenced by Kikuchi Kan’s Chichi Kaeru. This play continues to be appreciated and played in Indonesia up to today.
In this presentation, I will analyze and examine how Usmar Ismail interpreted the play with Japanese society in the early 20th-century background and the kind of creativity he had done to adapt it into Indonesian society during the war by comparing and contrasting the text of Usmar Ismail’s Ayahku Pulang with Kikuchi Kan’s Chichi Kaeru. I will also clarify why this adaptation play is being appreciated from Japanese occupation period to the present day.},
 pages = {15--25},
 publisher = {人間文化研究機構　国文学研究資料館},
 title = {研究発表　日本占領下のインドネシアにおける菊池寛「父帰る」――ウスマル・イスマイルの戯曲翻案をめぐって――},
 year = {2019},
 yomi = {フィティヤ二, アンワル and フィティヤ二, アンワル}
}