{"id":10684,"date":"2020-11-09T19:15:31","date_gmt":"2020-11-09T12:15:31","guid":{"rendered":"https:\/\/arkipel.org\/?p=10684"},"modified":"2020-11-09T19:15:31","modified_gmt":"2020-11-09T12:15:31","slug":"lenses-of-film-criticism","status":"publish","type":"post","link":"https:\/\/arkipel.org\/lenses-of-film-criticism\/","title":{"rendered":"Lenses of Film Criticism"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Lensa-Lensa Kritisisme Filem” css=”.vc_custom_1604923902883{margin-bottom: 0px !important;}”]\n
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Hampir 88 penonton hadir dalam ruang Zoom untuk menyaksikan panel ketiga dari Forum Festival 2020 dan 316 penonton tercatat mengunjungi <\/span>live streaming <\/span><\/i>acara ini di akun YouTube Jurnal Footage (catatan terakhir 9 November 2020). Panel \u201cPraktik Lensa Alternatif dalam Kritisisme Filem\u201d dilaksanakan pada Minggu (8\/11) sore dan merupakan panel terakhir dari simposium ini. Valencia Winata merupakan moderator untuk sesi ini. Bersamanya adalah para pembicara Dhuha Ramadhani, Intan Paramaditha, dan Seno Gumira Ajidarma. Valencia memulai sesi dengan menjelaskan tema \u201cPraktik Lensa Alternatif Dalam Kritisisme Filem\u201d yang secara garis besar mempertanyakan peran kritisisme dalam ekosistem filem.<\/span><\/p>\n

Dhuha Ramadhani menjadi pembicara pertama. Sebagai kurator Candrawala, salah satu program ARKIPEL yang berfokus pada pembacaan sinema Indonesia, Dhuha membahas peran kurator untuk menciptakan wacana yang lebih kritis dan menjadikan sebuah pameran sebagai sebuah peristiwa atau ruang diskusi. Setelah beberapa tahun bekerja mengurasi Candrawala, Dhuha melihat sebuah pola dalam sinema Indonesia kini. Kebanyakan filem Indonesia terlalu berfokus dengan cerita dan mengejar visual yang cantik. Padahal, menurut Dhuha, filem yang berkualitas tidak hanya berfokus pada cerita. Film juga perlu menghadirkan lanskap bukan hanya sebagai latar belakang tanpa implikasi signifikan pada filem itu sendiri. Dalam hal ini, seorang pembuat filem seyogyanya sadar dengan lanskap sekitarnya sehingga mampu menghadirkan lanskap tersebut sebagai \u201cperan utama\u201d dan bukan hanya sekedar penghias. Kecenderungan karya sinema yang menghadirkan lanskap tak hanya sebagai latar belakang atau aksesoris pun Dhuha temukan pada kurasi filem-filem Candrawala di ARKIPEL Twilight Zone yang akan dipresentasikan tahun depan.<\/span><\/p>\n

Intan Paramaditha merupakan pembicara kedua. Sebagai penulis dan aktivis perempuan, Intan banyak membicarakan kajian filem dari perspektif kelompok-kelompok yang tertindas atau diremehkan. Sebelumnya, kebanyakan kajian akademis banyak terpengaruh paradigma neoliberalisme, tetapi bisa dilihat bagaimana pandangan tersebut menyingkirkan dan mengeksploitasi kelompok minoritas demi mencari pasar. Walaupun kesadaran publik terhadap isu-isu minoritas mulai menguat, tetap saja ditemukan bias yang berbasis eurosentris. Misalnya kajian feminisme yang menggunakan sudut pandang perempuan kulit putih dari kelas menengah atau kajian etnografi yang meromantisasi orientalisme. Menurut Intan, untuk bisa mengkritisi sebuah filem, kita perlu mendekolonisasi terlebih dahulu bias-bias yang sudah meresap pada kajian-kajian akademis.\u00a0<\/span><\/p>\n

Panelis ketiga dan terakhir, Seno Gumira Ajidarma, melihat kritisisme filem dalam tiga kategori: kritik filem dalam jurnalistik, dalam kajian sinema (dengan perspektif seni atau sosial-budaya), dan dalam media sosial. Ia menjelaskan bahwa kritik filem dalam jurnalistik cenderung bekerja hanya untuk menilai dan menghakimi, berbeda dengan kritik filem dalam sinema yang ingin membongkar sebuah karya dan memberikan analisis lebih. Sedangkan kritik filem dalam media merupakan medium yang sangat bebas dan susah untuk dikendalikan. Namun tidak seperti kritik jurnalistik yang mencari esensi dalam filem atau kajian yang menganalisis konstruksi sosial, media sosial memberikan ruang interaktif yang mampu memulai diskusi terbuka tentang filem. Ia mencontohkan fenomena filem <\/span>Tilik <\/span><\/i>(2019) yang mampu mendorong perbincangan tentang filem menjangkau semua kalangan. Dalam hal ini, Seno menekankan pentingnya kritisisme filem yang mampu menjangkau semua kalangan. Ia pun mengkritisi kerja kritisisme filem yang dianggap cenderung eksklusif dan seakan mencari esensialisme tertentu.<\/span><\/p>\n

Setelah para pembicara selesai, moderator membuka sesi tanya jawab. Berbagai jenis pertanyaan diberikan kepada para panelis, baik melalui kanal QnA di ruang Zoom Webinar maupun di kanal komentar di <\/span>live streaming<\/span><\/i> YouTube. Salah satu pertanyaan dan respon yang mengundang diskusi berasal dari Otty Widasari. Menurut Otty, para akademisi tetap harus melakukan tugas mereka sebab dalam wacana global harus ada peran agen yang merubah perspektif dan hegemoni. Otty mempertanyakan kembali tentang media sosial yang menggeser semuanya, termasuk kultur dunia. Menurutnya, kritik filem memang perlu membaca pergeseran ini. Mengutip pertanyaan Otty Widasari di kanal ruang Zoom Webinar, \u201cBisakah kritikus dan scholar mengakomodir materi tentang sajian audiovisual keseharian yang sepele menjadi sesuatu yang luar biasa, diapresiasi secara langsung dan interaktif? Bisakah ini dilihat sebagai sinema mutakhir, saat semua sudah terasa horizontal dan hegemoni jadi milik warga (net)?\u201d<\/span><\/p>\n

Seno menjawab dengan memberikan pengertiannya sendiri, ia melihat banyak sekali orang awam yang mulai keliru terhadap pengertian sinema. Menurutnya, harus ada seseorang yang menjadikan dirinya sebagai pelopor di antara netizen dan mengedukasi kembali mereka. Intan lalu merespon pernyataan Seno dengan mengatakan bahwa posisi itu tidak mudah, apalagi untuk perempuan yang tidak dianggap sebagai sumber pengetahuan. Intan mengaku dirinya sering dihujat dan menerima kekerasan verbal berkat opini-opininya. Sifat media sosial yang anonim mengundang entitas yang bermacam-macam, sehingga menjadi sulit untuk mengadakan diskusi yang efektif. Seno setuju, menurutnya memang perlu ada aktivisme dan literasi yang perlu dilakukan oleh orang-orang masa kini.\u00a0<\/span><\/p>\n

Setelah sesi tanya jawab, para panelis memberikan kesan-kesan terakhir mereka. Seno mengatakan bahwa untuk mengembangkan kritisisme filem Indonesia, maka kita perlu mempunyai \u201cwayang\u201d filem sendiri. Istilah tersebut pertama kali digunakan oleh Djadoeg Djajakusuma, seorang sutradara yang aktif di perfileman Indonesia era 1950-an, yang menekankan penggunaan nilai-nilai budaya lokal dalam filem-filemnya. Yang dimaksud Seno adalah dengan membuat filem tanpa meniru orang lain, tetapi menggunakan budaya dan \u201cwayang\u201d untuk mengembangkan bahasa baru. Sementara, Intan mengingatkan bahwa Indonesia tidak hanya terdiri dari kawasan urban. Maka, daripada mencari \u201cestetika Indonesia\u201d yang seakan mengidealkan yang utuh, lebih baik menghargai dan mencatat setiap upaya atau terobosan estetik. Lalu Dhuha sekilas menyebut Kultursinema yang telah konsisten mencatat pergerakan dan perkembangan estetika sinema Indonesia, serta mereproduksi kembali pengetahuan tentang sinema.\u00a0<\/span><\/p>\n

Panel ketiga dan Forum Festival akhirnya ditutup secara resmi oleh Prashasti Putri, selaku koordinator Forum Festival 2020. Prashasti berterima kasih kepada semua pembicara, moderator, dan penonton yang telah meluangkan waktu mereka untuk menghadiri Forum Festival 2020. Dengan ini, berakhirlah Forum Festival tahun ini dan tunggu kedatangan ARKIPEL Twilight Zone di tahun depan.\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=”Lenses of Film Criticism” css=”.vc_custom_1604923951074{margin-bottom: 0px !important;}”]Approximately 88 viewers were present in the Zoom room to watch the third panel of Forum Festival 2020, and 316 viewers were recorded on the live stream of this event on the YouTube Journal Footage account (last noted November 9, 2020). The last panel of this symposium, “Alternative Lens Practices in Film Criticism” was held on Sunday (11\/8) afternoon. Moderated by Valencia Winata, the speakers were Dhuha Ramadhani, Intan Paramaditha, and Seno Gumira Ajidarma. Valencia started the session with a short introduction to the theme “Alternative Lens Practices in Film Criticism” which generally questioned the role of criticism in the film ecosystem.<\/span><\/p>\n

As the curator of Candrawala, one of ARKIPEL’s programs that focuses on reading Indonesian cinema, Dhuha Ramadhani discusses the curator\u2019s role in creating a more critical discourse, turning an exhibition into an event or discussion space. After several years of curating Candrawala, Dhuha saw a certain pattern in Indonesian cinema today. Most Indonesian films overly focus on the narrative and pretty visuals. While he argued that a film of quality should focus beyond narrative. It needs to present the landscape not only as background without any significant implications for the film itself. A filmmaker should be aware of the surrounding landscape in order to focus on it as the \u201cmain actor\u201d instead of mere decoration. He has found some works of cinema that present the significance of landscape from the selection of films submitted in ARKIPEL Twilight Zone, and he curated it in the Candrawala program that will be delivered next year.<\/span><\/p>\n

As a writer and a feminist activist, Intan Paramaditha discussed film studies from the perspectives of oppressed or underestimated groups. In the past, most academic studies were heavily influenced by the neoliberalism paradigm, and we can see how this view eliminates and exploits minority groups in favor of the market. Although public awareness of minority issues is increasing, the Eurocentric bias remains. For instance, some feminist studies perpetuate middle-class white women’s perspective, and some ethnographic studies still romanticize orientalism. According to Intan, to criticize a film, we first need to decolonize the biases that have permeated the academic studies.\u00a0<\/span><\/p>\n

The third and final panelist, Seno Gumira Ajidarma, elaborated film criticism in three categories: film criticism in journalism, in cinema study (through the perspective of aesthetic or cultural studies), and in social media. He explained that film criticism in journalism tends to value and judge, in contrast to film criticism in cinema, which attempts to unpack a work and provide more analysis. Meanwhile, film criticism in social media is a free and challenging medium to control. However, unlike the journalistic approach in film criticism, which seeks a certain essence in films, or cultural studies that analyze social construction in films, the social media approach provides an interactive space capable of initiating open discussions about film. He gave an example of the phenomenon of the film <\/span>Tilik <\/span><\/i>(2019), which encouraged conversations about films to all circles. In this case, Seno emphasized the importance of film criticism that can reach all groups. He also criticized film criticism that is exclusive and aims to reach certain essentialism.<\/span><\/p>\n

During the Q&A session, the audience asked various questions, both in the Q&A channel in the Zoom Webinar room and on the comment channel on the YouTube livestream. One of the questions that invited discussion came from Otty Widasari. According to Otty, scholars must still do their job because there must be an agent that challenges perspectives and hegemony in global discourse. She questions the shift in many aspects of life, including the world’s culture, caused by social media. She argues that film criticism needs to be aware of this shift. Quoting her question on the Zoom Webinar channel, \u201cCan critics and scholars accommodate the abundance of daily, trivial audio-visual recordings as an extraordinary phenomenon, which can be appreciated directly and interactively? Can this be seen as the latest cinema, when everything feels horizontal, and hegemony belongs to the c(net)izens?\u201d<\/span><\/p>\n

Seno answered with his own opinion that many common people have mistaken the notion of cinema. According to him, there must be someone who establishes themself as a pioneer among netizens and re-educates them. Intan then responded to Seno’s statement by saying that the position is not easy to bear, especially for women who were never considered as a source of knowledge. Intan admitted that she was often blasphemed and received verbal abuse on the Internet from people who disagree with her opinion. The anonymous nature of social media invites multiple entities, making it challenging to hold effective discussions. Seno agrees. He thinks more people of today should be involved in activism and literacy for everyone.<\/span><\/p>\n

After the question and answer session, the panelists each gave their conclusion. Seno stated that to develop Indonesian film criticism, we need to have our own film <\/span>\u201cwayang\u201d <\/span><\/i>\u00a0(shadow puppet). This term was first used by Djadoeg Djajakusuma, a filmmaker from the 1950s who emphasized cultural values in his works. What Seno meant with the term was, we should not attempt to imitate films elsewhere but use our own culture and <\/span>wayang<\/span><\/i> to develop new languages. While Intan reminded us that Indonesia does not only consist of urban areas. So, instead of looking for “Indonesian aesthetics” that seem to idealize the whole, it is better to appreciate and note every aesthetic effort or breakthrough. Then, Dhuha briefly mentioned Kultursinema, a research program that has consistently recorded the movement and development of Indonesian cinema aesthetics and reproduced knowledge about cinema.<\/span><\/p>\n

Prashasti Putri, as the coordinator of Forum Festival 2020, concluded the third panel as the last panel from the series of the symposium. She thanked all the speakers, moderators, and audiences who took their time to attend the forum Festival 2020. Therefore, this year\u2019s Forum Festival has ended, and we will see each other again at ARKIPEL Twilight Zone next year.<\/span>[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”10685,10686,10687,10688,10689,10690,10691,10692,10693″ img_size=”large”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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