1.0ARKIPELhttps://arkipel.orgMaria C. Silalahihttps://arkipel.org/people/mariacsilalahi/The Dance of Camera — ARKIPELrich600338<blockquote class="wp-embedded-content" data-secret="uBBt0Ia9GX"><a href="https://arkipel.org/the-dance-of-camera/">The Dance of Camera</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://arkipel.org/the-dance-of-camera/embed/#?secret=uBBt0Ia9GX" width="600" height="338" title="“The Dance of Camera” — ARKIPEL" data-secret="uBBt0Ia9GX" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script type="text/javascript">
/* <![CDATA[ */
/*! This file is auto-generated */
!function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document);
/* ]]> */
</script>
https://i0.wp.com/arkipel.org/wp-content/uploads/2019/08/b_sardono_4.jpg?fit=1280%2C720&ssl=11280720Dhuha said that today, experimental film is assumed to stop at merely visual and formal experimentation. This happens in Indonesia’s experimental film scene. With Sardono’s experimentation in three of his works presented in this program, I agree with Dhuha that Sardono’s ideas contain an intense experimental representation in Indonesia’s historical context, perhaps even in the Southeast Asia.