{"id":10177,"date":"2019-08-23T20:00:38","date_gmt":"2019-08-23T13:00:38","guid":{"rendered":"https:\/\/arkipel.org\/?p=10177"},"modified":"2019-08-24T15:40:29","modified_gmt":"2019-08-24T08:40:29","slug":"film-a-democratic-medium-of-arts","status":"publish","type":"post","link":"https:\/\/arkipel.org\/film-a-democratic-medium-of-arts\/","title":{"rendered":"Film: A Democratic Medium of Arts"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Filem: Medium Seni yang Demokratis” css=”.vc_custom_1566635197622{margin-bottom: 0px !important;}”]\n
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Produk-produk material dari modernisme datang begitu saja tanpa kita alami landasan ide yang membentuknya. Jurang pemahaman akan produk material modernisme yang datang dari Barat, dalam hal ini kamera, bukan berarti menjadi keterbatasan yang musti diratapi. Alih-alih, jurang tersebut membuka peluang interpretasi lain ketika bersinggungan dengan suatu kultur tertentu. Peluang inilah yang yang menjadi pintu masuk bagi Afrian Purnama, penyaji program Kompetisi Internasional\u00a0 07 untuk ARKIPEL <\/span>bromocorah \u2013 7<\/span><\/i>th <\/span><\/i>Jakarta Internatonal Documentary & Experimental Film Festival<\/span><\/i>, untuk menyuarakan gagasannya mengenai tema ARKIPEL tahun ini; <\/span>bromocorah<\/span><\/i>.\u00a0<\/span><\/p>\n

Dua filem yang dipresentasikan dalam program Kompetisi Internasional 07: <\/span>Batasan Ketidakterbatasan, <\/span><\/i>Jumat, 23 Agustus 2019, di Auditorium Goethehaus berasal dari Argentina dan Jepang. Filem pertama dari Argentina berjudul <\/span>Camara Oscura<\/span><\/i> karya Javier Miquelez, bercerita tentang proses pria paruh baya yang melakukan proses produksi dan reproduksi gambar melalu berbagai medium; dari digital, kamera analog, sampai kuas dan kertas. Filem kedua dari sutradara asal Jepang, Takashi Makino, berjudul <\/span>Memento Stella<\/span><\/i>. Filem ini merupakan hasil dari ulang-alik produksi dan reproduksi gambar yang tersusun hingga menciptakan konfigurasi visual yang abstrak. Kedua filem terhubung dalam satu benang merah, <\/span>layer<\/span><\/i>. Laku <\/span>layering<\/span><\/i>, yaitu produksi dan reproduksi gambar, dalam filem <\/span>Camara Oscura<\/span><\/i> juga terjadi dalam metode yang lebih ekstrem pada filem <\/span>Memento Stella<\/span><\/i>, sehingga <\/span>layer<\/span><\/i> visual yang tercipta dalam filem tersebut menjadi tekstur dan bentuk baru.\u00a0<\/span><\/p>\n

Kompilasi filem yang ditayangkan siang itu berdurasi 121 menit. Bagi saya cukup mudah mengikuti 61 menit pada filem pertama, <\/span>Camara Oscura<\/span><\/i>, sebab bagi saya lebih mudah diikuti secara naratif. Namun di 60 menit selanjutnya, mata saya cukup lelah menatap layar. Hal ini juga dialami beberapa penonton lainnya yang meninggalkan ruang auditorium. Visual abstrak dari filem <\/span>Memento Stella <\/span><\/i>yang terproyeksi pada layar memang cukup melelahkan mata. Hingga pemutaran filem berakhir, dari 8 penonton yang datang, hanya 5 penonton yang masih bertahan. Meskipun begitu, kelelahan saya terbayarkan ketika saya mulai dapat mengasosiasikan citraan dari konfigurasi visual abstrak tersebut dengan interpretasi saya pribadi\u2014yang bisa sangat berbeda-beda bagi orang lain\u2014sehingga membuat saya bergairah untuk mengikuti filem ini sampai akhir. Pada titik tersebut saya mulai menangkap peluang interpretasi yang dimaksudkan Afrian dalam kurasinya ini melalui penjelasannya mengenai fenomena <\/span>orbs<\/span><\/i>. Menurut penjelasannya, fenomena ini adalah bentuk keterbatasan pemahaman cara kerja kamera digital ketika ia berada pada situasi kultural terntentu. <\/span>Noise<\/span><\/i> yang tercipta melalui tangkapan kamera pada ruangan bercahaya minim ini kemudian direproduksi dalam bentuk yang lain, contohnya lukisan seorang paranormal pada suatu program televisi. Laku reproduksi ini bisa kita tautkan kembali pada laku pria paruh baya dalam filem <\/span>Camara Oscura <\/span><\/i>yang melukiskan kembali tangkapan gambarnya. Tentu tawaran pembacaan Afrian atas fenomena ini, bagi saya, menarik untuk merefleksikan kembali kemampuan filem sebagai medium seni yang demokratis.<\/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=”Film: A Democratic Medium of Arts” css=”.vc_custom_1566635439745{margin-bottom: 0px !important;}”]\n

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Material products from modernism come without the experience of the idea that shapes it before. The gap of understanding regarding the material products of modernism coming from the West \u2013 in this case, is a camera \u2013 is not necessarily a limitation we should mourn. Instead, that gap is a chance for other interpretations when intersecting with a certain kind of culture. Afrian Purnama, the host and curator of program International Competition 07 of ARKIPEL <\/span>bromocorah \u2013 7<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival,<\/span><\/i> uses this chance as an entrance to express his idea regarding ARKIPEL\u2019s theme this year; <\/span>bromocorah.<\/span><\/i><\/p>\n

Two films presented at the International Competition 07 program: Limitation of the Infinite, Friday, August 23, 2019, at the Goethehaus Auditorium were from Argentine and Japan. The first film from Argentine, titled <\/span>Camara<\/span><\/i> Oscura<\/span><\/i> by Javier Miquelez, depicts the story of a middle-aged man’s process of producing and reproducing images through various media; from digital, analog cameras, to painting brushes and paper. The second film from Japanese director, Takashi Makino, is titled <\/span>Memento<\/span><\/i> Stella<\/span><\/i>. This film is the result of the reciprocal process of image production and reproduction arranged to create an abstract visual configuration. The two films are connected in one common thread; layer. The act of layering, that is the production and reproduction of images, in <\/span>Camara<\/span><\/i> Oscura<\/span><\/i> occurs in a more extreme method in\u00a0 <\/span>Memento<\/span><\/i> Stella<\/span><\/i> so that the visual layer created in the film becomes a new texture and shape.<\/span><\/p>\n

The compilation of films screened that afternoon was a total 121 minutes long. It was easy for me to follow the 61 minutes duration of the first film, <\/span>Camara Oscura<\/span><\/i> because for me it was easier to follow narratively. But in the next 60 minutes, my eyes were tired enough to stare at the screen. This was also experienced by several other audiences who left the auditorium. Abstract visuals from\u00a0 <\/span>Memento Stella<\/span><\/i> projected on the screen are quite tiring to the eye. Until the film screening ended, of the eight audiences who came, only 5 of them remained. However, my fatigue was paid off when I began to associate the image of the abstract visual configuration with my interpretation – which can be very different for others – so that made me excited to follow this film to the end. At that point, I began to grasp the chance for interpretation intended by Afrian in his curatorial through his explanation of the digital orbs phenomenon, which according to him, was the limit on an understanding of digital camera’s method when it was situated certain cultural situations. The noise created through camera captures in this low-light room is then reproduced in another form, for example, a paranormal painting on a television program. We can link this reproductive behavior back to the behavior of middle-aged men in the film <\/span>Camara Oscura<\/span><\/i> who paints an image he has captured using a camera. Of course, Afrian proposal on reading this phenomenon, to me, is interesting primarily to reflect on the ability of film as a democratic medium of art.<\/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_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Material products from modernism come without the experience of the idea that shapes it before. The gap of understanding regarding the material products of modernism coming from the West \u2013 in this case, is a camera \u2013 is not necessarily a limitation we should mourn. Instead, that gap is a chance for other interpretations when intersecting with a certain kind of culture. Afrian Purnama, the host and curator of program International Competition 07 of ARKIPEL bromocorah \u2013 7th Jakarta International Documentary and Experimental Film Festival, uses this chance as an entrance to express his idea regarding ARKIPEL\u2019s theme this year; bromocorah.<\/p>\n","protected":false},"author":151,"featured_media":10178,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Film: A Democratic Medium of Arts","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[532,1,344],"tags":[526,528,192],"jetpack_publicize_connections":[],"yoast_head":"\nFilm: A Democratic Medium of Arts — ARKIPEL<\/title>\n<meta name=\"description\" content=\"Material products from modernism come without the experience of the idea that shapes it before. 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Afrian Purnama, the host and curator of program International Competition 07 of ARKIPEL bromocorah \u2013 7th Jakarta International Documentary and Experimental Film Festival, uses this chance as an entrance to express his idea regarding ARKIPEL\u2019s theme this year; bromocorah.","breadcrumb":{"@id":"https:\/\/arkipel.org\/film-a-democratic-medium-of-arts\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/arkipel.org\/film-a-democratic-medium-of-arts\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/film-a-democratic-medium-of-arts\/#primaryimage","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/img_7735_b_ic7_1.jpg?fit=3984%2C2240&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/img_7735_b_ic7_1.jpg?fit=3984%2C2240&ssl=1","width":3984,"height":2240},{"@type":"BreadcrumbList","@id":"https:\/\/arkipel.org\/film-a-democratic-medium-of-arts\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/arkipel.org\/"},{"@type":"ListItem","position":2,"name":"Film: A Democratic Medium of Arts"}]},{"@type":"WebSite","@id":"https:\/\/arkipel.org\/#website","url":"https:\/\/arkipel.org\/","name":"ARKIPEL","description":"Jakarta International Documentary and Experimental Film Festival","publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/arkipel.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/arkipel.org\/#organization","name":"Arkipel","url":"https:\/\/arkipel.org\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","width":901,"height":351,"caption":"Arkipel"},"image":{"@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/arkipel.festival\/","https:\/\/x.com\/arkipel","https:\/\/www.instagram.com\/arkipel\/","https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ"]},{"@type":"Person","@id":"https:\/\/arkipel.org\/#\/schema\/person\/048b0efafbc61937f73e034e039cd771","name":"Dhanurendra Pandji","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/c9702ff7c736c0fb8ab0050c09b5eb27?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/c9702ff7c736c0fb8ab0050c09b5eb27?s=96&d=mm&r=g","caption":"Dhanurendra Pandji"},"description":"Dhanurendra Pandji (lahir 1997 di Temanggung) pernah belajar di Universitas Negeri Jakarta. Sejak 2017, ia telah mempelajari praktik produksi visual eksperimental bersama Milisifilem Collective dan juga menulis untuk Visual Jalanan. Pada bulan Maret 2019, pameran tunggalnya yang pertama berjudul \"Remembrance of Things Past\" diadakan di Forum Lenteng. Dia sekarang memprakarsai platform studi pembuatan zine, Kelab Klub, dan bekerja paruh waktu di Kineforum sebagai proyeksionis. - Dhanurendra Pandji\u00a0(b. 1997 in Temanggung) once studied in the State University of Jakarta. Since 2017, he has been studying experimental visual in Milisifilem Collective and also writing for Visual Jalanan. In March 2019 his first solo exhibition titled \u201cRemembrance of Things Past\u201d was held at Forum Lenteng. He\u2019s now initiating zine-making study platform Kelab Klub, and working part-time at Kineforum as a projectionist.","url":"https:\/\/arkipel.org\/people\/dhanupandji\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/img_7735_b_ic7_1.jpg?fit=3984%2C2240&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-2E9","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10177"}],"collection":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/users\/151"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=10177"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10177\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/10178"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=10177"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=10177"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=10177"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}