In Kultursinema

curator Mahardika Yudha

E / OPENING SUN. 14 SEP, 19.00-22.00 / EXHIBITION 15 SEP-21 SEP, 15.00-20.30 / GEDUNG PFN

Peradaban Sinema Dalam Pameran #1

Jajahan Gambar Bergerak: Lumière (1896-1900)

Persebaran Sinematografi ke Asia, Afrika, dan Amerika Latin

 

Pada perhelatan kedua, ARKIPEL Electoral Risk – Jakarta International Documentary & Experimental Film Festival 2014, akan diselenggarakan seri pertama dari Peradaban Sinema Dalam Pameran yang akan menghadirkan persebaran sinematografi ke Asia, Afrika, dan Amerika Latin, dengan tajuk Jajahan Gambar Bergerak: Lumiere (1896-1900). Pameran ini akan diselenggarakan di gedung laboratorium filem Produksi Film Negara (PFN) yang memiliki hubungan kesejarahan terhadap sinema Indonesia di masa kolonial.

Setiap tahunnya, ARKIPEL – Jakarta International Documentary & Experimental Film Festival akan menyelenggarakan seri Peradaban Sinema Dalam Pameran yang mencoba membaca kembali kepingan-kepingan arsip sinema Indonesia dan relevansinya dengan peradaban sinema dunia. Pameran arsip ini lebih mengkhususkan pada pembacaan bagaimana visual representasi kenyataan yang dihasilkan oleh teknologi sinema itu, termasuk juga bagaimana teknologi itu sendiri dalam mengintervensi bahasa visual representasinya. Setiap serinya, pameran arsip ini akan menghadirkan tema-tema spesifik yang muncul dalam linimasa peradaban sinema dunia, khususnya filem dokumenter dan eksperimental.

Dalam beberapa tahun mendatang, Peradaban Sinema Dalam Pameran akan khusus menghadirkan tema tentang Jajahan Gambar Bergerak. Jajahan dalam pameran ini lebih menitikberatkan kepada bagaimana moda kerja gambar bergerak itu sendiri dalam menyebarluaskan dan mentransfer piranti lunak (ide) dan juga logika kerja piranti keras (materi teknologi) yang dapat mewujudkan gagasan gambar bergerak ke seluruh dunia. Kembali kepada pernyataan Andre Bazin bahwa, “Sinema adalah fenomena idealistik. Konsep yang sudah dimiliki manusia hadir begitu saja dengan kuat dalam pemikiran mereka, seolah dalam suatu surga platonis. Dan yang mengejutkan kita adalah adanya tantangan keras dari materi terhadap gagasan, bukan anjuran teknis dari imajinasi peneliti.” Teknologi sinema yang ‘beruntung’ diciptakan, setelah menunggu lebih dari 300 tahun untuk diciptakan sejak penemuan mesin uap, hanyalah sebagai ‘perantara’ atau bahkan bagian kecil saja dari gagasan besar sinema di dalam kepala manusia yang sebenarnya sudah ada sejak manusia merenungi burung.

Cinema Culture in Exhibition #1

Moving Image Colony: Lumière (1896-1900)

The Mobilization of Cinematography to Asia, Africa and Latin America

 

On the second event, ARKIPEL Electoral Risk – Jakarta International Documentary & Experimental Film Festival, 2014, we are organizing the first series of Cinema Culture in Exhibition that will present the distribution of cinematography to Asia, Africa, Latin America, with the title Moving Image Colony: Lumiere (1896-1900). The exhibition will be held at film laboratory building of Perusahaan Film Negara (PFN) that has the historical connectivity with colonial cinema.

Every year, ARKIPEL – Jakarta International Documentary & Experimental Film Festival will be organizing series of Cinema Culture in Exhibition which tries to reread pieces of archives on Indonesian cinema and its relevance to the world’s cinema culture. This archives exhibition is specializing on the reading of visual representation on reality that resulted by that cinema technology, including the role of that technology in intervening its visual representation language. In every series, this archives exhibition will present specific themes which emerge in the timeline of the world’s cinema culture, especially documentary and experimental films.

In the years to come, Cinema Culture in Exhibition will present the theme about Moving Image Colony in particular. The colony in this exhibition will be emphasizing on how the moving images’ mode of production can disseminate and transfer the software (idea) and the work logic of the hardware (technological material) in order to realize the notion of moving images all over the world. We can refer to Andre Bazin’s statement that, “The cinema is an idealistic phenomenon. The concept men had of it existed so to speak fully armed in their minds, as if in some platonic heaven, and what strikes us most of all is the obstinate resistance of matter to ideas rather than of any help offered by techniques to the imagination of the researchers.” Cinema technology which created by ‘luck’, after waiting for more than 300 years to be created since the invention of steam engine, was just ‘intermediator’ or small parts from cinema grand idea in the head of human being who actually has existed since human contemplating about birds.

Filem-Filem Lumiere yang Dipamerkan / The Exhibition of Lumiere Films
Films
  • Jongleur javanais [Inggris Raya. 1896. Alexandre Promio]
  • Toilette d’un négrillon II [Prancis. 1897]
  • Nègres Achantis: danse d’hommes [Prancis. 1897]
  • Sortie de la briqueterie Meffre et Bourgoin à Hanoi [Vietnam. 1899-1900. Gabriel Veyre]
  • La sortie de l’arsenal [Vietnam. 1899-1900. Gabriel Veyre]
  • Fort-de-France: femmes portant des corbeilles [Antilles Prancis. 1902-1903. Alexander Promio]
  • Panorama des rives du Bosphore [Turki. 1897. Alexandre Promio]
  • Le village de Namo: panorama pris d’une chaise à porteurs [Vietnam. 1900. Gabriel Veyre]Départ de Jérusalem en chemin de fer (panorama) [Palestina-Israel. 1897. Alexandre Promio]
  • Rue Bab-Azoun [Aljazair. 1896. Alexandre Promio
  • Coolies à Saigon [Vietnam. 1896. Constant Girel]
  • Transport de la cloche de l’Indépendance [Meksiko. 1896. Gabriel Veyre]
  • Un enterrement [Mesir. 1897. Alexandre Promio]
  • Le bey de Tunis et les personnages de sa suite descendant l’escalier du Bardo [Tunisia. 1903. Alexandre Promio]
  • Place du Gouvernement [Aljazair. 1896. Alexandre Promio]
  • Le roi du Cambodge se rendant au palais [Kamboja. 1899. Gabriel Veyre]
  • Combat de coqs [Meksiko. 1896. Gabriel Veyre]
  • Duel au pistolet (longeur-12 mètres) [Meksiko. 1896. Gabriel Veyre]
  • Lassage des boeufs pour le labour [Meksiko. 1896. Gabriel Veyre]
  • Puits de pétrole à Bakou. Vue de près [Azerbaijan. 1897-1899. A.H. Mishon]
  • Fumerie d’opium [Vietnam. 1899-1900. Gabriel Veyre]
  • Repas en famille [Jepang. 1897. Constant Girel]
  • Japonaise faisant sa toilette [Jepang. 1898-1899. Gabriel Veyre]
  • Moulin à homme pour l’arrosage des rizières [Jepang. 1898-1899. Gabriel Veyre]
Biographies

Lumière Brothers
Auguste Marie Louis Nicolas Lumière and Louis Jean Lumière (1864-1948) born from a photography plate factory owner family. Since young, both of them are very fond of technology and finished school at La Martinière, Lyon, the biggest vocational high school in Lyon. After their father resign from the firm in 1892, the two brothers continue the firm and started to conduct a research and development on moving image technology Cinématographique which eventually shown to public on 28 December, 1895.

François-Constant Girel (1873-1952)
He was just 23 years old when joining, following his brother-in-law’s footsteps, and work at the Lumière Brothers’ firm. On September, 1896, he was chosen to be an operator of Cinématographique to filming Tsar Nikolas II in Germany. After he went to Switzerland and Italy, he travelled to Japan, and then Vietnam and back to France a year later. He approached Pathé Frères to find further work in film but failed. He quitted his career as film operator and returned to work as pharmacist. Throughout his career, he has made 37 films (Luke McKernan: http://victorian-cinema.net/girel).

Gabriel Veyre (1871-1936)
From 1896 to 1900/1901, he travelled to introduce moving image technology Cinématographique to Central and Latin America, Carribean Islands, Japan, China, and Indochina and producing 72 films. As he come back from his adventures, the result of his filmings were exhibited in Paris Universal Exposition 1900. Sometime in 1900/1901, having left the Lumière firm, he journeyed as a solo film operator. In Morocco, he demonstrated photography and Cinématographique for Sultan Abd al-Aziz, who possessed an insatiable desire for Western inventions (Luke McKernan: http://victorian-cinema.net/veyre).

Jean Alexandre Louis Promio (1868-1926)
He is an Italian descent and more familiar as Alexandre Promio. After witnessed the first presentation of the Cinématographique on June 1895, he decided to left his job and was taken on by the Lumière Brothers’ firm. He was trained by M. Perrigot to operate the Cinématographique in less than a year. At the least, he has filming 348 reels with the Cinématographique in several countries. After left Lyon and quit his job at the Lumière Brothers’ firm, he started to work for Pathé in 1907. When the World War I ended, he work as photographer and operator of the Cinématographique for the government of Algeria (Luke McKernan: http://victorian-cinema.net/promio).

A.H. Mishon
The France-born photographer with Russian nationality has settled for 25 years and ran a photographic studio in Baku, Azerbaijan, which at that time still under the territory of Russian Empire. He also known as specialist photographer for oil field in Baku. On August 2nd 1898, Mishon gave an exhibition of his filmings on Caucasus and Central Asia using the Cinématographique technology at the V.I. Vasilyev-Vyatski Circus Theatre, Azerbaijan, which then re-exhibited at the biggest industry and technology exhibition, Paris Universal Exposition in 1900 (Luke McKernan: http://victorian-cinema.net/mishon).

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