{"id":10118,"date":"2019-08-22T15:00:30","date_gmt":"2019-08-22T08:00:30","guid":{"rendered":"https:\/\/arkipel.org\/?p=10118"},"modified":"2019-08-22T15:12:48","modified_gmt":"2019-08-22T08:12:48","slug":"diversity-of-archive-experimentations-and-methods-of-historical-presentation-in-cinema","status":"publish","type":"post","link":"https:\/\/arkipel.org\/diversity-of-archive-experimentations-and-methods-of-historical-presentation-in-cinema\/","title":{"rendered":"Diversity of Archive Experimentations and Methods of Historical Presentation in Cinema"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Ragam Eksperimentasi Arsip dan Metode Penyajian Sejarah dalam Sinema” css=”.vc_custom_1566460247416{margin-bottom: 0px !important;}”]\n
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Pada program Kompetisi Internasional 03 yang ditayangkan di GoetheHaus, Goethe-Institut Jakarta, terdapat lima filem yang disajikan oleh Robby Ocktavian. Program ini dilangsungkan pada hari Rabu, 21 Agustus 2019, pukul 19.00. Kelima filem tersebut yaitu <\/span>What Remains <\/span><\/i>yang disutradarai oleh Belit Sa\u011f (Turki), <\/span>Real Time History<\/span><\/i> yang disutradarai oleh Foundland Collective (Afrika Selatan\/Suriah), <\/span>The Trial <\/span><\/i>yang disutradarai oleh Alexander Bouge (Perancis), <\/span>Adegan Yang Hilang Dari Petrus<\/span><\/i> yang disutradarai oleh Arief Budiman (Indonesia), dan <\/span>Bocamina<\/span><\/i> yang disutradarai oleh Miguel Hilari (Bolivia). Kuratorial program kompetisi tersebut berjudul <\/span>Sinema Melihat Citra-Citranya.<\/span><\/i><\/p>\n

Setelah melihat kelima filem tersebut, bisa dilihat bahwa informasi yang semakin melimpah di era digital memberi kebebasan bagi pengaksesnya. Dokumen-dokumen masa lalu bisa ditelusuri melalui internet dan hampir seluruhnya bersifat gratis. Melalui sumber-sumber yang sudah tersedia, pembuat filem bisa leluasa menggunakan materi tersebut sebagai bentuk dari eksperimentasi filem yang mereka ciptakan. <\/span>Real Time History<\/span><\/i> dan <\/span>Adegan Yang Hilang Dari Petrus<\/span><\/i> memanfaatkan teknologi komputer untuk membuat filemnya. Pada filem <\/span>Real Time History, <\/span><\/i>video yang tersebar di internet dibingkai dalam bentuk analisis untuk melihat kemungkinan-kemungkinan bagaimana materi asli unggahan tersebut mengalami pembingkaian tertentu. Sedangkan <\/span>Adegan Yang Hilang Dari Petrus <\/span><\/i>memanfaatkan foto-foto dari media yang<\/span> dengan eksperimentasi si sutradara dihadirkan dalam bentuk <\/span>draft<\/span><\/i> naskah filem.<\/span><\/p>\n

Begitu juga dengan filem <\/span>The Trial<\/span><\/i> yang dibuat dari material arsip yang dikumpulkan dan dikelola oleh pembuat flemnya untuk dijadikan sebuah narasi baru. Melalui kerja tersebut, filem <\/span>The Trial <\/span><\/i>kemudian menghasilkan penggambaran tentang kehancuran sebuah negara dan peristiwa penghukuman diktator di Rumania.<\/span><\/p>\n

What Remains<\/span><\/i> menjadikan arsip sebagai bahasa visual yang puitik. Filem ini menarasikan bahwa orang-orang yang sudah meninggal dunia akan tetap terabadikan dalam suatu rekaman. Di sini, pembuat filem seolah-olah melihat kembali posisi manusia dan relasinya dengan teknologi perekam. Filem terakhir yang berjudul <\/span>Bocamina <\/span><\/i>membicarakan tentang sejarah namun dengan gaya yang berbeda. Narasi tentang sejarah dan masa lalu aktivitas pertambangan di sebuah pegunungan di Bolivia yang bernama Cerro Rico dituturkan oleh siswa-siswa di sana. Mereka menuturkan kesaksiannya terhadap aktivitas pertambangan di Cerro Rico sambil menghadirkan foto-foto para penambang di masa lalu sebagai penunjang tuturan mereka.<\/span><\/p>\n

Pada sesi ini, Arief Budiman yang menjadi sutradara <\/span>Adegan Yang Hilang Dari Petrus<\/span><\/i> datang untuk mengisi diskusi. Diskusi juga berjalan dengan cukup ramai. Sejumlah pertanyaan dilontarkan penonton kepada Arief. Salah satu pertanyaan dilontarkan oleh Manshur Zikri yang berprofesi sebagai peneliti. Ia menanyakan pendapat Arief mengenai arsip di Indonesia, sebab menurutnya banyak pula praktik kesenian dan filem yang mencoba berspekulasi dengan arsip. Arief menjawab bahwa dirinya melihat arsip sebagai bagian dari materi karyanya. Ia pun mengerjakan beberapa proyek serupa yang juga memanfaatkan arsip. Di Indonesia sendiri Arief terkadang merasa kesulitan untuk mengakses arsip-arsip dari institusi resmi. Ia juga sempat menyinggung tentang sumber-sumber penelitiannya yang berasal dari internet. Menurutnya, penggunaan internet sebagai sumber penelitian menjadi semacam cerminan generasi muda yang cenderung melihat berbagai informasi, termasuk sejarah, melalui internet.<\/span><\/p>\n

Secara umum, kelima filem tersebut mengangkat kembali sejarah dengan metode yang berbeda-beda. Sejarah bisa dimunculkan menggunakan teknologi canggih dengan sebebas-bebasnya, namun bisa juga dengan cara tradisional dengan penuturan. Apapun cara yang dilakukan, pemunculan kembali sejarah sangat berfungsi untuk merawat ingatan akan masa lalu. Setelah arsip-arsip tersebut dihadirkan pada penonton melalui filem, eksperimentasi yang dilakukan si pembuatnya juga akan menghadirkan tangkapan dan perspektif yang berbeda dari audiens mengenai peristiwa yang ada dalam arsip-arsip tersebut.<\/span><\/p>\n<\/div>\n<\/div>\n[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”Diversity of Archive Experimentations and Methods of Historical Presentation in Cinema” css=”.vc_custom_1566460271123{margin-bottom: 0px !important;}”]\n

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On International Competition 3 screened in GoetheHaus, Goethe-Institut Jakarta, Robby Ocktavian presented five films. The program was held on Wednesday, August 21, 2019 at 7:00 pm. Those five films were <\/span>What Remains<\/span><\/i> by Belit Sa\u011f (Turkey), <\/span>Real Time History <\/span><\/i>by Foundland Collective (South Africa\/Syria), <\/span>The Trial <\/span><\/i>by Alexander Bouge (France), <\/span>Adegan Yang Hilang Dari Petrus <\/span><\/i>by Arief Budiman (Indonesia), and <\/span>Bocamina <\/span><\/i>by Miguel Hilari (Bolivia). The curatorial is titled <\/span>Cinema Observing Its Images.<\/span><\/i><\/p>\n

After watching those five films, it could be seen that overflowing information in digital era gives its accessor freedom. Past documents could be traced via internet and almost all of them are for free. Through the available sources, filmmakers are able to use those materials as a form of film experimentation they intend to create. <\/span>Real Time History <\/span><\/i>and <\/span>Adegan yang Hilang dari Petrus <\/span><\/i>utilize computer technology to create the films. In <\/span>Real Time History,<\/span><\/i> videos spread on the internet are framed in the form of analysis to see possibilities of how the original video materials are framed in a particular manner. Meanwhile, <\/span>Adegan yang Hilang dari Petrus <\/span><\/i>utilizes images from media presented with the director’s experimentation on the form of screenplay draft.<\/span><\/p>\n

The Trial <\/span><\/i>is also created with archive materials collected and managed by the filmmaker to be constructed into a new narrative. Through those works, <\/span>The Trial <\/span><\/i>succeeds in creating a certain depiction of a fall of a nation and the verdict of a Romanian dictator.<\/span><\/p>\n

What Remains <\/span><\/i>makes archives as a poetic visual language. It narrates the dead that was eternalized within a recording. Here, the filmmaker reflects back the human position and their relation with recording devices. The last film, <\/span>Bocamina, <\/span><\/i>talks about history with a different style. Narrative on history and the past of mining activity at a mountain area in Bolivia named Cerro Rico is told by students. They recount their testimonies on the mining activities at Cerro Rico while the director presents images of past miners as a trigger for the student’s testimonies.<\/span><\/p>\n

This session was attended by Arief Budiman, the director of <\/span>Adegan yang Hilang dari Petrus<\/span><\/i>. After the screening, the discussion was lively. Several questions were brought up by audience, one of them was Manshur Zikri \u2013 a researcher. He asked Arif’s opinion on archive in Indonesia, because he thought there were plenty of art and film practices tried to speculate with archives. In Indonesia, Arief faced difficulty to access archives from formal institution. He also mentioned the sources of his materials derived from the internet. According to Arief, the use of internet as source of research was a reflection of young generation who tends to see various information, including history, via internet.<\/span><\/p>\n

In general, the five films depict history with different methods. History could be shown through advanced technology openly, but also through traditional means of oral story-telling. Whatever the means of narrative, the re-portrayal of history serves to foster the memories of the past. After those archives were presented to the audience through film, experimentation by the filmmakers will also results in the differing opinions and perspectives of the audience on the events within the archive.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”10119,10120,10121″ img_size=”large” onclick=””][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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