Anggraeni Widhiasih, Author at ARKIPEL

Special Screening of Performance Film: Cinema Meditation a la Makino

Anggraeni Widhiasih — Sun, 12 Aug 2018 14:34:29 +0000

On its fifth day, Sunday, August 12, 2018, ARKIPEL homoludens – 6th Jakarta International Documentary and Experimental Fim Festival presented not only film screening, but also a film performance. The program was held in GoetheHaus, Goethe Institute Indonesien, Jakarta, and entitled Special Presentation: Performance Film by Takashi Makino.

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Passion of The Perfect Body: A Visit from Guruh Soekarnoputra

Anggraeni Widhiasih — Sat, 11 Aug 2018 12:14:17 +0000

Saturday, 11 August 2018, Kultursinema Exhibition # 5: Passion of The Perfect Body gets a visit from Guruh Soekarnoputra. He is one of the figures in the world of Indonesian art and culture. He and his entourage seem to enjoy the Kultursinema exhibition in Galeri Cipta III, Taman Ismail Marzuki. They took some time to watch the video installation in the exhibition hall while occasionally mentioning the classical music titles played in the video.

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Opening Ceremony of ARKIPEL Penal Colony

Anggraeni Widhiasih — Sun, 20 Aug 2017 05:21:30 +0000

Sejak pertama kali dilaksanakan di tahun 2013, ARKIPEL telah diniatkan sebagai lokus distribusi dan produksi pengetahuan sinema dengan jangkauan ruang yang luas, baik secara lokal maupun internasional.

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Inspecting the Trace of History on Contemporary Cinema: notes on Keynote Speech at Forum Festival

Anggraeni Widhiasih — Sat, 19 Aug 2017 01:19:21 +0000

With a paper and presentation entitled When Dead Labor Speaks: Subjectivity, Subjugation, and Meta-Cinema, Fang-Tze elaborated the practices of artists and filmmakers relating to the problems, which are also part of the historical legacy of the Cold war.

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After Nation: A Memoria Passionis in Cinema

Anggraeni Widhiasih — Thu, 25 Aug 2016 05:50:10 +0000

Indeed when I watched this film I did get the impression of memoria passionis or collective memory about the suffering. The nation building process of Philippines in the era of Spanish colonialism was related closely to the stories happened after the death of Jose Rizal as a martyr of the revolution. In terms of context, the historical background of Indonesia is actually can be told in similar way. The collective memory of the suffering experienced by Indonesian mainly related to the colonialism era and the events surrounding the year 1965. Unfortunately, we seem to not having the same anxiety and persistence to create a work revealing our qualified memoria passionis history.

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Film Your Life! – Making Celluloid Film in the Midst of Digital Explosion

Anggraeni Widhiasih — Wed, 24 Aug 2016 10:56:36 +0000

The fact that everyone has camera in their pocket and able to make film is very remarkable things, moreover in the videos they made is unique and artistic. But the condition will be very different if the object recorded is a fight between us and our mom or other too private matters. The development of digital also has made Scott’s perspective on how he watches films changed. We can assume here that criticism to cinema will grow along with the development of technology.

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Conjugation: Wondering While Finding New Things

Anggraeni Widhiasih — Mon, 22 Aug 2016 10:28:21 +0000

Probably, not only intertitle that can be a part of the visual language of the film. Even the sequence of image performance, footage placement and the narration of the film itself can be a distinctive visual form that might strengthen the potency of the films to present what was past to be a presence.

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Marginal Matters: Story in Various Forms

Anggraeni Widhiasih — Sun, 21 Aug 2016 09:10:44 +0000

The films screened this time were the representation of Taiwanese community’s struggle due to the oppression of global neoliberals. Many symbols were invested in the films as the representation of the marginal society’s condition in Taiwan. Whether through fiction or documentary, the five films were able to express the repression and marginalization experienced by the subjects in the films.

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Politics of Form: Understanding Cinema, Digesting Reality

Anggraeni Widhiasih — Sun, 21 Aug 2016 08:52:16 +0000

Propaganda films will be successful if it can fulfill the aesthetic conditions of good films. Propaganda films often display a black and white truth. That kind of imagination must be showed to convince the viewers. Just like in The New Wave and Prisoners of Conscience films that gave the whole picture of the propaganda. The first film legitimates a certain institution while the second one heavily criticizes it. They are contradictive but speak in the same good visual language. Thus, both of them are also fine and effective propaganda films.

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Festival Forum: Panel 4

Anggraeni Widhiasih — Sat, 20 Aug 2016 13:58:51 +0000

When it comes to the language of cinema in Asia, Fang-Tze said that we cannot forget the desire of national cinema that goes hand in hand with global cinema. Therefore the achievement of national cinema still follows the formal reference of global cinema.

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