curator Manshur Zikri

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Tantangan Pemberontakan Baru Atas Media (Filem)

 

Kuratorial ini mendiskusikan kemungkinan-kemungkinan atas pembacaan terhadap filem The Uprising (Peter Snowdon, 2013) demi mendapatkan suatu pemaparan menyeluruh tentang ide “melihat filem secara berbeda”. Dengan melihat perkembangan media di konteks global, The Uprising dilihat sebagai sebuah karya yang membuktikan kepada kita bahwa telah terjadi suatu revolusi estetika dan revolusi cara pandang terhadap media. Kami melemparkan argumen bahwa The Uprising membuka peluang bagi penonton untuk terbebas dari ‘kebenaran filemis’ dan visi individual pengarang (author). Sebagaimana puisi yang telah ber-revolusi menjadi domain publik, dalam hal ini, filem dan video telah menjadi suatu medium yang secara utuh digenggam oleh publik.

The Uprising merupakan salah satu bukti konkret yang mewacanakan otokritik bagi proses sosial-politik-media di Indonesia, menyuguhkan kemungkinan-kemungkinan pilihan dalam merespon fenomena demokrasi dalam kurun waktu tiga bulan terakhir. ‘Berpuisi’, bisa jadi, adalah cara yang paling politis (bahkan ideologis), dan pilihlah filem sebagai puisi itu sendiri. Pada pilihan itulah kita dapat menyadari esensi dari electoral risk.

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The Risk of the New Uprising against the Media (Film)

 

This curatorial discusses the possibilities of reading on The Uprising (Peter Snowdon, 2013) in order to get a thorough explanation about the idea of “seeing the film with other perspectives”. By starting the discussion about [new] media in the contemporary era in global context, The Uprising is seen as a work that proves to us that there has been such an aesthetic revolution and the revolution of perspectives about media. We argued that this film creates a possibility for audience to escape from the ‘filmic verity’ and individual vision of the author. As the poetry becomes the property of everybody (or public domain), in this case, film and video has become a medium that is fully handled by the public.

The Uprising is a concrete evidence for the process of self-criticism against the process of social-political-media in Indonesia, it presents the possibilities of choices in responding to the democration phenomena that have started and still been taking place since three months ago. Creating ‘poetry’, perhaps, is the most political (and even ideological) method, so choose film as poetry in itself. At that choice, we can realize the essence of electoral risk.

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