The Chinese-Indonesians have been part of the Indonesian nation since long before the formation of the republic, continued by the struggles of liberty, after then the New Order which intensified the development in various sectors, ended in the Reformation Era. Despite the contribution of Chinese-Indonesians in various fields is also apparent, the negative stigmatization, which has been attached to this nation’s minority group, seems hard to loose. The communication media, which is capable of capturing this dynamic, is merely a national film because it escaped from government banning efforts. Talented filmmakers convoyed the implicit message through the work they produced, then the idea by the researcher peeled using cross-historical discourse analysis (Wodak, 2004) combined with the description of multimodality discourse on each film segmentation (Wildfeuer, 2011). There was a pattern of communication between the subcultural and the dominant groups according to Co-Cultural Communication Theory (Orbe, 1997). The Chinese-Indonesian on the basis of historical context and film as text analysis are found as two discourses in the Euphoria Era (1999-2003), namely: freedom of expression been found in the film Ca Bau Kan (擦包看-2001), while in the film Novel Tanpa Huruf 'R' (NTHR-2003) implied Chinese-Indonesian celebration.

Keywords: Chinese-Indonesian, National Films, Co-Cultural Communication, The,  Discourse Historical Analysis, Multimodality