ИСТИНА

The interaction of Internet-lore, literature and Awi Suryadi's box-office film “KKN in Dancer’s Village” can be seen as a modern version of the “oral-written-theatrical continuum” (according to the term of V. I. Braginsky). In 2019, Indonesian Twitter user @SimpleMan posted about “real” events that allegedly happened at a student field-practice in 2009. Due to the echo chamber effect, the story went viral on the Internet. The hype around which made it possible to transfer Internet lore onto the rails of “print capitalism” (according to B. Anderson). The publication of the book led to the formalization of language and the transformation of identities — from locally Javanese to national. In the novel, Javanese remarks are given with consecutive translation into Indonesian for the convenience of non-Javanese readers. However, the next stage, film adaptation, takes the focus away from the standards of the national language and returns the recipient to Javanese specifics. The characters speak Javanese among themselves, only occasionally switching to Indonesian, to give greater authenticity to the events and immerse the viewer in the ominous atmosphere of the Javanese hinterland. The “3D” narrative belongs to the folk horror subgenre, since the setting is in the countryside, and the plot is based on strange local cults and bloody sacrifices. A set of texts about the village of spirits appeal to the fear of an inconvenient past with its old beliefs, no more comprehensible rituals, the culture of “Javanese Islam.” In the “denigration” of Javanese cultural and ritual relics, there may also be an encrypted political subtext about the end of the era of Javacentrism.