{"id":10892,"date":"2021-11-25T14:00:20","date_gmt":"2021-11-25T07:00:20","guid":{"rendered":"https:\/\/arkipel.org\/?p=10892"},"modified":"2021-11-25T14:00:20","modified_gmt":"2021-11-25T07:00:20","slug":"shadowed-twilight-zone","status":"publish","type":"post","link":"https:\/\/arkipel.org\/shadowed-twilight-zone\/","title":{"rendered":"Shadowed Twilight Zone"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1637782705631{margin-bottom: 0px !important;}”]\n

Shadowed Twilight Zone<\/b><\/strong>
\nZona Temaram Berbayang
\n<\/em><\/h1>\n

Host: Afrian Purnama<\/strong><\/p>\n

December 12th – December 18th, 2021 | festival.arkipel.org
\nFriday, December 3rd, 2021 | 16:00 | Forum Lenteng<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637782903613{margin-bottom: 0px !important;}”]Membayangkan zona temaram\u2026 Sebuah tempat di mana kita berdiri di ambang batas. Wilayah saat manusia kehilangan kendali kesadaran atas dirinya terhadap apa itu nyata dan maya.<\/span><\/span><\/p>\n

Zona temaram dapat dibayangkan sebagai fase, sehingga durasional. Zona temaram yang terbayang, ditentukan dengan seberapa banyak cahaya masuk ke dalam retina. Kenyataan yang tampak dalam cahaya, perlahan-lahan tenggelam digantikan oleh kenyataan lain yang tersingkap dalam gelap. Zona temaram memiliki lapisan ruang dan waktu yang mempunyai putarannya dan saling berganti mengikuti ketetapan alam.<\/span><\/span><\/p>\n

Sebaliknya, terminologi \u2018Zona Temaram\u2019 (Twilight Zone<\/em>) juga digunakan untuk mendefinisikan suatu kondisi lingkungan yang spesifik, yaitu lapisan ambang lautan, tempat terakhir cahaya matahari mampu melakukan penetrasi ke kedalaman samudra. Di kedalaman tersebut, Zona Temaram tidak lagi durasional, atau sebuah fase. Ia adalah sebuah malar, kondisi permanen yang lalu menciptakan habitus-nya sendiri akibat dari ketiadaan alternatif lingkungan. Mahluk laut dalam secara biologis membentuk tubuhnya untuk bertahan hidup di zona temaram.<\/span><\/span><\/p>\n

Program ini berangkat dari pertanyaan-pertanyaan yang berasal dari premis tersebut; bila kita mengartikan ulang apa itu Zona Temaram, secara sinematik dan sosio-kultural, akan seperti apakah Zona Temaram permanen bisa dibayangkan? Apa akibat dari kepermanenan Zona Temaram itu? Dan adaptasi seperti apa yang dilakukan mahluk yang tinggal di dalamnya?<\/span><\/span><\/p>\n

Penggambaran Zona Temaram yang demikian dapat kita saksikan di Diary of Cattle<\/em>. Hanya saja, kepermanenan Zona Temaram tidak dibentuk oleh kondisi alamiah seperti intensitas cahaya atau kedalaman lautan. Zona Temaram di sini adalah kondisi di mana sebuah sistem ekonomi dan politik begitu dominan sehingga menghancurkan siklus dan menciptakan katastrofi ekologi luar biasa sehingga memaksa mahluk hidup untuk selamanya hidup dalam kondisi seperti itu.<\/span><\/span><\/p>\n

Imaji sapi-sapi yang memakan sampah plastik di samping bangkai kawannya adalah salah satu imaji paling liris untuk menggambarkan katastrofi ekologi di Zona Temaram kapitalisme kontemporer. Relasi antara sapi dan sampah plastik bukanlah relasi simbiosis ataupun sebuah proses daur ulang. Relasi keduanya, yang diperlihatkan dalam Diary of Cattle<\/em>, menunjukkan kekerasan ekologi yang masif, yang terjadi akibat ketimpangan dan residu-residu produksi berlebih hasil dari sistem tersebut. Zona Temaram dalam Diary of Cattle<\/em> menunjukkan manusia yang kehilangan kendali atas kenyataan; dirinya sendiri, benda-benda ciptaannya dan bumi tempatnya tinggal. Zona Temaram permanen, yang menunggu kehancuran total untuk mencapai titik batas katastrofi, yang sayangnya, tidak perlu lagi kita bayangkan.
\n<\/span><\/span><\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637783069993{margin-bottom: 0px !important;}”]Imagining the twilight zone\u2026 A place where we stand on a threshold. A territory where humans lose control of their consciousness towards what is real and what is mere image.<\/span><\/p>\n

The twilight zone can be imagined as phases; thus, it is durational. A shadowed twilight zone can be determined by the amount of light that enters the retina. When the reality which appears in the light slowly drowns, replaced by another reality revealed in the dark. The twilight zone has layers of space and time which rotates according to the laws of nature.<\/span><\/p>\n

On the contrary, the term \u2018Twilight Zone\u2019 is also used to define a specific condition of the environment, namely the layers of sea threshold, the last place where the sun can penetrate the depth of the sea. In those depths, the Twilight Zone is no longer durational or divided into phases. It is continuous, a permanent condition that creates its own habitus due to the lack of alternative of his environment. Deep sea creatures biologically form their bodies to survive in the twilight zone.<\/span><\/p>\n

This program departs from questions in those premises; if we reinterpret the Twilight Zone cinematically and socio-culturally, how would we imagine a permanent Twilight Zone? What is the impact of its permanence? What kind of adaptation performed by the creatures in it?<\/span><\/p>\n

We can see the depiction of this Twilight Zone in Diary of Cattle<\/em>. Yet, in this case, the permanence of Twilight Zone is not formed by natural conditions such as intensity of light or depth of the sea. In this film, Twilight Zone is a condition where the economic and political system became so dominant. It destroys an ecological cycle and creates a massive catastrophe, forcing the creatures in it to survive in such a condition for the rest of their lives.<\/span><\/p>\n

The image of cows eating plastic waste besides the corpse of their friends is one of the most lyrical images to depict the ecological catastrophe in the Twilight Zone of contemporary capitalism. The relation between the cows and the plastic waste is not a symbiosis nor a recycling process. This relation, as shown in Diary of Cattle<\/em>, demonstrates a massive ecological violence caused by the inequality and residues of surplus production from that system. The Twilight Zone in Diary of Cattle <\/em>represents humans who lose control of reality; of themselves, their creations, and the earth where they live. A permanent Twilight Zone, waiting for total destruction to reach the boiling point of catastrophe\u2014which, unfortunately, needs no further imagining.<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Film List” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637503076230-854d8107-3735″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10897″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637783275477{margin-bottom: 0px !important;}”]\n

Diary of Cattle<\/b><\/h2>\n

Filmmaker <\/em>Lidia Afrilita, David Darmadi<\/strong> (Indonesia)
\n<\/span>International Title<\/em> Diary of Cattle<\/b>
\n<\/strong>Country of Production<\/em>\u00a0 Indonesia
\n<\/strong>Language<\/em> Minangkabau
\n<\/strong>Subtitle<\/em>\u00a0 English<\/strong><\/p>\n

17 min 31 sec, <\/span>stereo, digital, color<\/span>, 2019<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637783304366{margin-bottom: 0px !important;}”]Lokasinya terletak di sebuah pembuangan sampah di Kota Padang, Sumatra Barat. Lokasi ini tidaklah indah dipandang, namun yang terpenting adalah ekosistem lokasi yang ditajamkan oleh kamera, yang menunjukkan jasad organik dan non-organik. Keberadaan jasad tersebut merefleksikan aktivitas manusia kapitalisme tahap akhir yang agresif dan invasif.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637783318713{margin-bottom: 0px !important;}”]The location is in a landfill in Padang City, West Sumatra. This location is not beautiful to look at, but the most important thing is the ecosystem of the location sharpened by the camera shows organic and non-organic bodies. The existence of these bodies reflects the aggressive and invasive human activities of late capitalism.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637503076686-c189603b-0340″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10899″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637783414320{margin-bottom: 0px !important;}”]Lidia Afrilita<\/strong><\/em> adalah seorang pecinta filem dokumenter, bahasa, dan pendidikan. Dia lulus dari jurusan Linguistik dan merupakan seorang guru bahasa. Saat ini, ia mengelola sebuah pusat belajar di pedesaan di Jambi. Filem-filemnya telah diputar di berbagai festival.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637783434499{margin-bottom: 0px !important;}”]Lidia Afrilita<\/strong><\/em> is a documentary, language, and education enthusiast. She has a Linguistics background and is a language teacher as well. She currently runs a learning center in a rural area in Jambi. Her films have been screened in many festivals.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10898″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637783673374{margin-bottom: 0px !important;}”]David Darmadi<\/strong><\/em> (Padang, 1987) adalah pembuat filem yang saat ini tinggal di Sumatera. Dia lulus dari program Televisi dan Film di ISI Padangpanjang. Karya-karyanya telah diputar di berbagai festival.<\/span><\/p>\n

Saat ini, keduanya tengah mengelola Ingatan Visual; sebuah inisiatif yang merekam kehidupan sehari-hari masyarakat di Sumatera Barat.
\n<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637783734379{margin-bottom: 0px !important;}”]David Darmadi<\/strong> <\/em>(Padang, 1987) is a filmmaker currently based in Sumatera. He graduated from Television and Film program in Indonesia Institute of The Arts of Padangpanjang (ISI Padangpanjang). His works have been screened at numerous festivals.<\/span><\/p>\n

Currently, both are managing the Ingatan Visual; an initiative documenting the daily life of people in West Sumatera.<\/span><\/p>\n

.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10838″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637783784884{margin-bottom: 0px !important;}”]Afrian Purnama<\/strong><\/em> lahir di Jakarta. Lulusan Universitas Bina Nusantara jurusan Ilmu Komputer. Anggota Forum Lenteng, pembuat filem, ko-kurator dan periset Kultursinema. Sekarang menjadi Kurator di ARKIPEL.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637783799488{margin-bottom: 0px !important;}”]Afrian Purnama<\/strong><\/em> was born in Jakarta. Graduated from Department of Computer Science of the Bina Nusantara University. Member of Forum Lenteng, filmmaker, co-curator and researcher for Kultursinema. Now, he is Program Curator of ARKIPEL.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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