{"id":10207,"date":"2019-08-24T19:16:34","date_gmt":"2019-08-24T12:16:34","guid":{"rendered":"https:\/\/arkipel.org\/?p=10207"},"modified":"2019-08-26T14:40:09","modified_gmt":"2019-08-26T07:40:09","slug":"the-journey-of-forged-money","status":"publish","type":"post","link":"https:\/\/arkipel.org\/the-journey-of-forged-money\/","title":{"rendered":"The Journey of Forged Money"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Perjalanan Uang Palsu\u00a0” css=”.vc_custom_1566803702965{margin-bottom: 0px !important;}”]\n
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Waktu menunjukkan pukul16.00 tepat, gong dipukul sebanyak tiga kali. Tanggal 24 Agustus 2019, orang-orang mulai memasuki Auditorium GoetheHaus, Goethe Institut Jakarta, untuk menonton filem Robert Bresson yang berjudul <\/span>L\u2019argent <\/span><\/i>(Uang) yang diangkat dari novelet berjudul <\/span>Uang Palsu<\/span><\/i> karya Leo Tolstoy. Program ini adalah salah satu bagian dari rangkaian ARKIPEL <\/span>bromocorah \u2013 7<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival<\/span><\/i>. Kali ini Afrian Purnama yang biasa dipanggil Rian yang menguratori program ini.\u00a0<\/span><\/p>\n

Terdapat 19 orang yang mengisi daftar registrasi dan kemudian memasuki ruangan. Kemudian Rian memulai program ini dengan sedikit menjelaskan tentang filem serta teknis filem yang tidak menyertakan subteks Bahasa Inggris, hanya subteks Bahasa Indonesia. Ia pun menjelaskan sedikit mengenai aspek <\/span>bromocorah<\/span><\/i> yang muncul di dalam filem tersebut. Filem<\/span> L\u2019argent<\/span><\/i> terbagi menjadi dua babak. Babak pertama semacam mengambarkan perjalanan uang palsu \u2013 bagaimana ia berpindah-pindah dari satu tangan ke tangan lainnya. Lalu babak kedua adalah sebuah dampak yang dialami seseorang dari perjalanan si uang palsu. Menariknya, keseluruhan dari filem menggambarkan alur sistem peradilan pidana di wilayah tersebut yang kemudian dipaparkan secara visual.<\/span><\/p>\n

Filem ini diawali dengan narasi tentang anak muda yang kekurangan uang saku lalu diselamatkan oleh temannya dengan menggunakan uang palsu. Lalu anak muda itu menggunakan uang palsunya untuk transaksi di sebuah toko kamera. Si pemilik toko kemudian mentransaksikan uang palsu itu ke seorang tukang ledeng. Saat si tukang ledeng menggunakan uang tersebut di sebuah restoran, ia mendapatkan masalah hingga dihadapkan kepada hukum pidana yang, secara tak langsung, mendorongnya melakukan aksi kriminal hingga ia dipenjara. Kehidupan tukang ledeng berubah seiring dengan perjalanannya sebagai narapidana. Pandangannya mengenai kehidupan pun turut berubah. Setelah bebas, ia mulai menjalani kehidupan yang berseberangan dengan aturan dan hal itu ia lakukan secara berulang.\u00a0<\/span><\/p>\n

Filem ini memperlihatkan efek dari alur sistem peradilan pidana, baik itu efek jera terhadap seseorang, juga pada kelihaian aksi mengakali sistem yang terlihat dari praktik-praktik barter di dalam penjara hingga memungkinkan kaburnya seorang narapidana.Tapi sebenarnya, dalam filem ini, undang-undang tidak dapat melindungi si tukang ledeng sebagai warga negara dengan tepat. Hal itu terlihat saat si pegawai toko kamera yang memberikan saksi palsu, kemudian di adegan selanjutnya ia terbukti melakukan kesalahan. Kegagalan inilah yang kemudian justru menjerumuskan si warga pada kriminalitas yang merubah keseluruhan jalan hidupnya.<\/span><\/p>\n

Setelah filem ini berakhir, Rian kemudian menyerahkan kepada penonton untuk memberi respon dan pertanyaan terkait filem <\/span>L\u2019argent<\/span><\/i>. Joren Pelfrene, seorang penonton ARKIPEL, mengangkat tangannya dan bertanya kepada Rian mengenai konsep bromocorah yang berada di filem <\/span>L\u2019argent.<\/span><\/i> Rian memaparkan mengenai estetika bromocorah yang ditawarkan oleh Robert Bresson. Sebagai sutradara, Bresson kerap menggunakan aktor berupa orang awam atau bukan pemain filem. Pengalaman pertama mereka berakting memungkinkan Bresson mendapatkan gestur-gestur yang natural dan tidak terlihat menunjukkan emosi.\u00a0<\/span><\/p>\n

Bagi saya, filem<\/span> L\u2019argent<\/span><\/i> memperlihatkan posisi uang palsu yang menjadi benang merah bagi keberlangsungan fenomena bromocorah. Ia menangkap narasi tentang bagaimana uang palsu bisa memperdaya seseorang untuk berdelik dari aturan. Orang-orang yang dihinggapi uang palsu harus berselingkuh dengan hukum dan, bagi yang gagal berselingkuh, bisa menjadi korban dari uang palsu tersebut.\u00a0 Dalam hal ini posisi konsep bromocorah, bagi saya, ialah sebagai si uang palsu yang menguji efektivitas sistem peradilan pidana serta penghukuman yang diterapkan untuk pelanggar aturan.\u00a0<\/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=”The Journey of Forged Money” css=”.vc_custom_1566803558152{margin-bottom: 0px !important;}”]The time was 4 o’clock when the gong echoed three times. On August 24, 2019, the audience started to come into the GoetheHaus Auditorium, Goethe-Institut Jakarta to watch Robert Bresson’s <\/span>L’argent,<\/span><\/i> adapted from Leo Tolstoy’s novella <\/span>Faux Billet.<\/span><\/i> The screening program is a part of ARKIPEL <\/span>bromocorah \u2013 7<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival <\/span><\/i>event<\/span>.<\/span><\/i> Afrian Purnama is the curator of this program.<\/span>\u00a0<\/span><\/i><\/p>\n

19 people filled the registration sheet and the auditorium. Rian started the program with a short introduction of the film and informed that there would be no English subtitle, only Indonesian. He also explained the bromocorah element in the film. <\/span>L’argent<\/span><\/i> is divided into two acts. The first act sort of depicts the journey of forged money \u2013 how it moves around from one person to another. The second act shows the impact on a person of the journey of the forged money. Interestingly, the entire film depicts the flow of the criminal justice system in that location presented visually.<\/span><\/p>\n

The film begins with a narrative of a young man who was short on money and saved by his friend by using forged money. The young man uses his money at a camera shop. The shop owner uses the money on a plumber. When the plumber is about to use the money on a restaurant, he stumbles upon trouble and is confronted with criminal law which, indirectly, encourages him to commit criminal acts resulting in him thrown into jail. His life turns upside down as he spends his time in prison as a convict. His view of life also changes. After he is set free, he starts to live his life contrary to the law, and he does it repeatedly.<\/span><\/p>\n

The film displays the effect of the criminal justice system, whether it is the deterrent effect or even the ability to outsmart the system, seen through practices of barter within the prison that enable a felon to escape. But, in the film, the law is not capable of protecting the plumber as a citizen. It is shown when the staff of the camera shop bears false witness, and in the next scene, he is proven guilty. This failure is the reason that plunges the citizen to the acts of criminality that change their course of life.<\/span><\/p>\n

When the film ended, Rian asked the audience for their responses and questions. Joren Pelfrene, an ARKIPEL attendant, raised his hand and asked Rian of the concept of bromocorah in <\/span>L’argent<\/span><\/i>. Rian explained the bromocorah aesthetic offered by Bresson. As a director, Bresson frequently used non-professionals as actors. Their first experiences in acting enabled Bresson to capture natural gestures without displaying any emotions.<\/span><\/p>\n

For me, <\/span>L’argent<\/span><\/i> shows the position of forged money as the connection of bromocorah phenomenon. It captures the narrative of the ability of forged money of deluding people to deviate the law. People with forged money have to be able to commit an affair with the law, and those unable to cheat would fall victim of the money. In this context, the position of the bromocorah concept, for me, is the forged money itself which attests the effectivity of the criminal justice system and the penalty sentenced for the outlaw.<\/span>[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”10211,10210,10209,10212,10208″ img_size=”large”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

For me, L’argent shows the position of forged money as the connection of bromocorah phenomenon. It captures the narrative of the ability of forged money of deluding people to deviate the law. People with forged money have to be able to commit an affair with the law, and those unable to cheat would fall victim of the money. In this context, the position of the bromocorah concept, for me, is the forged money itself which attests the effectivity of the criminal justice system and the penalty sentenced for the outlaw.<\/p>\n","protected":false},"author":150,"featured_media":10212,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"The Journey of Forged Money","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[532,345,1],"tags":[526,528,330],"class_list":["post-10207","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arkipel-2019-bromocorah","category-main-curatorial-program","category-festival-updates","tag-526","tag-bromocorah","tag-curatorial-program"],"jetpack_publicize_connections":[],"yoast_head":"\nThe Journey of Forged Money — ARKIPEL<\/title>\n<meta name=\"description\" content=\"For me, L'argent shows the position of forged money as the connection of bromocorah phenomenon. 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In this context, the position of the bromocorah concept, for me, is the forged money itself which attests the effectivity of the criminal justice system and the penalty sentenced for the outlaw.","breadcrumb":{"@id":"https:\/\/arkipel.org\/the-journey-of-forged-money\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/arkipel.org\/the-journey-of-forged-money\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/the-journey-of-forged-money\/#primaryimage","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/img_7836_b_bresson_1.jpg?fit=1281%2C720&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/img_7836_b_bresson_1.jpg?fit=1281%2C720&ssl=1","width":1281,"height":720},{"@type":"BreadcrumbList","@id":"https:\/\/arkipel.org\/the-journey-of-forged-money\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/arkipel.org\/"},{"@type":"ListItem","position":2,"name":"The Journey of Forged Money"}]},{"@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\/c40d017746e298e9d0b8abe423d19766","name":"Maria C. Silalahi","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/9d6fab4cf9f3b671d2ae319c6ab3bfe5?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/9d6fab4cf9f3b671d2ae319c6ab3bfe5?s=96&d=mm&r=g","caption":"Maria C. Silalahi"},"description":"Maria C. Silalahi (lahir di Jakarta, 31 Mei 1993) lulus dari Departemen Kriminologi, Universitas Indonesia pada tahun 2018. Sejak saat itu ia belajar praktik eksperimentasi visual di Milisifilem Collective. Saat ini dia adalah salah satu pengurus Forum Lenteng untuk program AKUMASSA. - Maria C. Silalahi\u00a0 (b. Jakarta, 31 May 1993) graduated from Criminology, University of Indonesia in 2018. She studies the experimental visual at Milisifilem Collective since then. She is now one of members of Forum Lenteng, in charge of AKUMASSA program. \u2022","url":"https:\/\/arkipel.org\/people\/mariacsilalahi\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/img_7836_b_bresson_1.jpg?fit=1281%2C720&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-2ED","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10207","targetHints":{"allow":["GET"]}}],"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\/150"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=10207"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10207\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/10212"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=10207"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=10207"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=10207"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}