{"id":10539,"date":"2020-07-07T08:00:28","date_gmt":"2020-07-07T01:00:28","guid":{"rendered":"https:\/\/arkipel.org\/?p=10539"},"modified":"2020-07-07T01:05:15","modified_gmt":"2020-07-06T18:05:15","slug":"arkipel-twilight-zone-candrawala-4-films","status":"publish","type":"post","link":"https:\/\/arkipel.org\/arkipel-twilight-zone-candrawala-4-films\/","title":{"rendered":"ARKIPEL Twilight Zone – Candrawala: 4 films"},"content":{"rendered":"[vc_row][vc_column][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1594055777897{margin-bottom: 0px !important;}”]Semenjak dari negeri asalnya, hingga tiba di tanah Hindia Belanda, filem selamanya terpengaruh oleh lanskap ekonomi, sosial, budaya, dan politik di mana ia berpijak. Ragam aliran estetika sinema dunia lahir atas respons akan tiap-tiap perubahan yang terjadi. Untuk sebagian besarnya, apa yang dibekukan dalam filem, dapat mempengaruhi balik lanskap yang mahaluas itu. Kelahiran estetika itu hanya dimungkinkan oleh kepekaan dan kesadaran yang dimiliki para pembuat filem pada lanskap\u2014termasuk lanskap sebagai ruang fisik\u2014serta perubahannya.<\/span><\/p>\n

Para pembuat filem di Indonesia, ketimbang pada lanskap, justru lebih sering menjadikan filem-filem yang telah ada sebagai referensi dalam aspek naratif dan estetikanya. <\/span>Hal mana, filem-filem apa yang akan menjadi sumber rujukan itu kemudian bergantung lagi pada situasi-situasi politiknya; katakanlah pada masa penjajahan Belanda, pendudukan jepang, Orde Lama, Perang Dingin, Orde Baru, juga Reformasi dengan segala atributnya. Sebagian kecil pembuat filem merespons berbagai fluktuasi politik itu. Sebagian besar yang lainnya berusaha beradaptasi dengan situasi sosial politik sezamannya, dengan merujuk ragam estetika dan cerita dominan sesuai kepentingan rezim politik saat itu, guna mengamankan posisinya. Maka, sampai hari ini, tidak pernah ada estetika filem yang bisa disebut sebagai estetika filem \u201ckhas\u201d Indonesia. Perubahan sistem ekonomi, sosial, budaya, dan politik sepanjang sejarah Indonesia tidak pernah melahirkan estetika filem apa-apa.<\/span><\/p>\n

Lantas bagaimana cara kita mencapai apa yang dapat kita sebut sebagai estetika filem Indonesia itu? Atas segala fluktuasi politik di atas, lanskap jelaslah menjadi semacam \u201cgedung arsip\u201d terlengkap yang menyimpan sejarah dari capaian puncak atau krisis yang terjadi akibat dari berbagai perubahan rezim di sebuah lokasi spesifik. Dengan menyadari potensi itu, maka aksi membingkai lanskap sebagai dirinya sendiri membuka peluang bagi terkuaknya kenyataan lokasi yang direkam olehnya. Jika kita masih berhasrat mencari estetika filem khas Indonesia, maka merekam lanskapnya adalah pilihan yang masuk akal.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1594055808698{margin-bottom: 0px !important;}”]Since its inception from its native land, up to its arrival in the land of the Dutch East Indies, cinema has always been impacted by the landscape of economic, social, cultural, and political where it rests. The aesthetics of world cinema with its variety were born in response to changes occurring and recurring. To a large extent, what is perpetuated by cinema can influence those vast landscapes reciprocally. The birth of that kind of aesthetics was only made possible by the sensitivity and awareness of filmmakers to the landscapes<\/span><\/i>\u2014<\/span><\/i>also landscape as physical space<\/span><\/i>\u2014<\/span><\/i>and its changes.<\/span><\/i><\/p>\n

Instead of its own landscapes, Indonesian filmmakers get their influence from pre-existing films. In which case the films which become the source of aesthetic and narratives reference determined by the political situations at the time. Let say how each authority saw their political interests represented in film, i.e., during the Dutch colonial period, the Japanese occupation, the Old Order, the Cold War, the New Order, as well as the Reformasi with all its attributes. A small number of filmmakers respond to those political fluctuations. On the contrary, the rest try to be adaptive to the current social and political situation by referring to the legitimized aesthetics and narratives to secure their position. Thus, to this day, there has never been an aesthetic that can be called as the \u201cpeculiar\u201d Indonesian film aesthetic. Changes in the economic, social, cultural, and political system throughout Indonesian history have never given birth to film aesthetics.<\/span><\/i><\/p>\n

So what can we do to discover the Indonesian film aesthetic? In the course of all the political fluctuations mentioned beforehand, the landscape is obviously the most comprehensive kind of “recording device” that stores and takes notes on the golden age or the downfall in history that occur as a result of various changes in a specific location. If we are aware of that potential, the act of filming the landscape as itself opens up possibilities for the recorded reality of location to unfold. If we are still eager to find the \u201cpeculiar\u201d Indonesian film aesthetic, then recording the landscape is a legitimate choice.<\/span><\/i>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][mk_padding_divider][mk_ornamental_title font_family=”none”]\n

Selected Films for Candrawala 2020<\/strong><\/h2>\n[\/mk_ornamental_title][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text css=”.vc_custom_1594057729942{margin-bottom: 0px !important;}”]\"still<\/p>\n

Katarsis Yang Tak Kunjung Selesai \/ The Catharsis<\/em><\/strong>
\n2020, 20 minutes
\nRizki Rianda
\nIndonesia<\/p>\n

—<\/p>\n

\"\"<\/p>\n

Di Pinggir Kali Citarum \/ Citarum<\/em><\/strong>
\n2019, 16 minutes
\nAli Satri Efendi
\nIndonesia<\/p>\n

—<\/p>\n

\"\"<\/p>\n

Anak Merak<\/strong><\/em>
\n2019, 60 minutes
\nSaleksa Srengenge
\nIndonesia<\/p>\n

—<\/p>\n

\"\"<\/p>\n

Diary Of Cattle<\/strong><\/em>
\n2019, 18 minutes
\nLidia Afrilita, David Darmadi
\nIndonesia<\/p>\n

—<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

To this day, there has never been an aesthetic that can be called as the \u201cpeculiar\u201d Indonesian film aesthetic. Changes in the economic, social, cultural, and political system throughout Indonesian history have never given birth to film aesthetics. In the course of all the political fluctuations mentioned beforehand, the landscape is obviously the most comprehensive kind of “recording device” that stores and takes notes on the golden age or the downfall in history that occur as a result of various changes in a specific location. If we are aware of that potential, the act of filming the landscape as itself opens up possibilities for the recorded reality of location to unfold. If we are still eager to find the \u201cpeculiar\u201d Indonesian film aesthetic, then recording the landscape is a legitimate choice.<\/p>\n","protected":false},"author":135,"featured_media":10540,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Candrawala: Local Landscape of Now - 2020 - 4 films","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[309,545,347],"tags":[546,303,548],"jetpack_publicize_connections":[],"yoast_head":"\nARKIPEL Twilight Zone - Candrawala: 4 films — ARKIPEL<\/title>\n<meta name=\"description\" content=\"To this day, there has never been an aesthetic that can be called as the \u201cpeculiar\u201d Indonesian film aesthetic. 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If we are still eager to find the \u201cpeculiar\u201d Indonesian film aesthetic, then recording the landscape is a legitimate choice.","breadcrumb":{"@id":"https:\/\/arkipel.org\/arkipel-twilight-zone-candrawala-4-films\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/arkipel.org\/arkipel-twilight-zone-candrawala-4-films\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/arkipel-twilight-zone-candrawala-4-films\/#primaryimage","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/07\/candrawala-2020_web-banner.jpeg?fit=1200%2C677&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/07\/candrawala-2020_web-banner.jpeg?fit=1200%2C677&ssl=1","width":1200,"height":677},{"@type":"BreadcrumbList","@id":"https:\/\/arkipel.org\/arkipel-twilight-zone-candrawala-4-films\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/arkipel.org\/"},{"@type":"ListItem","position":2,"name":"ARKIPEL Twilight Zone – Candrawala: 4 films"}]},{"@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\/486c336e5618da5fd7d0a1a97fe0f2b6","name":"Dhuha Ramadhani","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/3161a71fbbc50bc73877e24a1f383eda?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/3161a71fbbc50bc73877e24a1f383eda?s=96&d=mm&r=g","caption":"Dhuha Ramadhani"},"description":"Dhuha Ramadhani\u00a0(Jakarta, 23 Februari 1995) adalah mahasiswa Departemen Kriminologi, Fakultas Ilmu Sosial dan Ilmu Politik, Universitas Indonesia. Anggota Forum Lenteng, bertanggung jawab sebagai pengurus harian Program AKUMASSA \u2013\u00a0Diorama\u00a0. Tahun 2017, ia menjadi salah satu partisipan Akademi ARKIPEL, angkatan pertama, untuk kategori\u00a0penulis\/kritikus film. - Dhuha Ramadhani\u00a0(Jakarta, 23 February 1995) is a student of Department of Criminology, Faculty of Social and Political Science, University of Indonesia. He is a member of Forum Lenteng, in charge of AKUMASSA - Diorama Program. In 2017, he participated in Akademi ARKIPEL, first batch, for the category of writer\/critic.","sameAs":["https:\/\/kalmirama.wordpress.com\/"],"url":"https:\/\/arkipel.org\/people\/dhuharamadhani\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/07\/candrawala-2020_web-banner.jpeg?fit=1200%2C677&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-2JZ","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10539"}],"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\/135"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=10539"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10539\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/10540"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=10539"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=10539"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=10539"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}