{"id":10908,"date":"2021-11-25T10:35:07","date_gmt":"2021-11-25T03:35:07","guid":{"rendered":"https:\/\/arkipel.org\/?p=10908"},"modified":"2021-11-29T15:47:35","modified_gmt":"2021-11-29T08:47:35","slug":"filem-vertikal","status":"publish","type":"post","link":"https:\/\/arkipel.org\/filem-vertikal\/","title":{"rendered":"Filem Vertikal"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1637807252051{margin-bottom: 0px !important;}”]\n

Filem Vertikal<\/b><\/strong>
\nFilem Vertikal<\/em><\/h1>\n

Milisifilem Collective<\/strong><\/p>\n

December 12th – 18th, 2021 | festival.arkipel.org
\nSunday, December 5th, 2021 | 19:30 | 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_1637807653150{margin-bottom: 0px !important;}”]Ketika saya merencanakan untuk membuat filem dengan format layar \u2018berdiri\u2019, hal- hal berikut menjadi pertimbangan saya. Pertama, logika mediumnya. Tentang konteks, dan metode produksinya. Misal praktik membingkai-merekam lanskap menggunakan kamera dengan orientasi vertikal, dibiasakan oleh User Interface dan fitur dari media sosial. Sebelum itu, saya pribadi lebih sering memiringkan handphone untuk membingkai. Ketika aplikasi berbagi video mulai populer, keberadaan ikon dan tata letaknya di layar melogikakan sekaligus membentuk orientasi akan cara memproduksi dan melihat peristiwa di layar \u2018berdiri\u2019.<\/span><\/span><\/p>\n

Kedua, terkait percobaan untuk menemukan kemungkinan-kemungkinan bahasa visual dengan batasan dan tambahan ruang di dalam bingkai secara orientatif. Ketiga, konsekuensi dan bentuk distribusinya. Ketika menonton di layar, kesesuaiannya tentu bergantung pada jenis perangkat dan platform-nya. Juga ketika ia sedang diproyeksikan di layar \u2018besar\u2019. Misalnya, menonton di layar laptop akan menghadirkan dua ruang hitam di sisi kiri dan kanan. Dan menonton di layar handphone akan memungkinkan kita merotasikan layar. Situasi ini bisa saja diartikulasikan sebagai wilayah eksperimentasi-nya, dalam konteks membicarakan sinema.<\/span><\/span><\/p>\n

Di pengalaman saya mendengarkan impresi penonton tentang filem vertikal, ternyata situasi layar cukup memberikan ruang gangguan terhadap perhatian penonton akan unsur naratif dari filem. Daripada berusaha memahami cerita dari filemnya, perhatian mereka justru lebih tertuju pada bentuk filemnya. Ini akhirnya memicu percakapan tentang ruang bingkai, komposisi, dan impresi visual yang baru saja dialami.<\/span><\/span><\/p>\n

Saya mengutip beberapa bacaan, pertanyaan, dan pernyataan dari penonton yang sempat saya rekam:<\/span><\/span><\/p>\n

\u201cSempit dan melelahkan\u201d<\/span><\/span><\/p>\n

\u201cApa bedanya mengintip di lubang yang garisnya horizontal dan yang vertikal?\u201d<\/span><\/span><\/p>\n

\u201cVertikal membuat jarak yang lebih jauh terlihat\u201d<\/span><\/span><\/p>\n

\u201cSaya penasaran apa yang terjadi di ruang kiri dan kanan itu\u201d<\/span><\/span><\/p>\n

\u201cMata kita kan kiri dan kanan ya, bukan atas dan bawah\u201d<\/span><\/span><\/p>\n

\u201cKalau bisa miringkan layar handphone, kepala kan juga bisa dimiringkan\u201d<\/span><\/span><\/p>\n

\u201cLebih intim dan personal\u201d<\/span><\/span><\/p>\n

\u201cIni shooting pakai handphone atau \u2018kamera\u2019 ?<\/span><\/span><\/p>\n

\u201cKenapa vertikal?\u201d<\/span><\/span><\/p>\n

\u201cIni ceritanya dulu yang jadi atau gambarnya?\u201d<\/span><\/span><\/p>\n

\u201cWalaupun saya terbiasa dengan layar vertikal, rasanya masih asing menonton filem vertikal\u201d<\/span><\/span><\/p>\n

\u201cAtas, bawah\u201d<\/span><\/span><\/p>\n

\u201cIni lebih bagus ditonton di handphone atau di layar besar?\u201d<\/span><\/span><\/p>\n

\u201cGerakan mata naik turun\u201d<\/span><\/span><\/p>\n

Ini adalah sebagian tanggapan oleh penonton ketika saya hadir di penayangan dan diskusi film ROTASI (2021) di Palu, Makassar, dan di Solok, tahun 2021.<\/span><\/span><\/p>\n

Sebagai penonton, filem vertikal bagi saya tidak semenarik filem horizontal. Tetapi kehadirannya perlu untuk melihat kembali bagaimana kerja-kerja layar dalam membentuk imajinasi peristiwa, dengan memperhatikan konteks perkembangan teknologi layar. Ia bisa saja hanya berperan sebagai tawaran artistik untuk mendiskusikan hal yang lebih luas dan bukan sebagai karya yang benar-benar selesai.<\/span><\/span><\/i><\/p>\n

-Taufiqurrahman Kifu[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637811645272{margin-bottom: 0px !important;}”]When I was planning to make a film in an upright screen format, there are some things to be considered. First, the logic of the medium. On its context and production method. For example, the practice of framing-capturing the landscape through a vertical-oriented camera is conditioned by the User Interface and features of social media. Before, I personally prefer to tilt my phone when framing. After video-sharing apps became popular, the presence of its icons and layouts on the screen forms a certain logic and orientation on how to produce and view an event on a \u2018standing\u2019 screen.<\/span><\/p>\n

Second, on the experiments to find possibilities of visual language and its limitation, and to find additional space within the frame in the manner of orientation. Third, consequences and forms of distribution. When watching on a screen, we adapt according to the type of hardware and its platforms, also when it is projected on a \u2018big\u2019 screen. For example, watching [a vertical film] on a laptop screen conjures two black spaces on the left and right of the screen. While watching on a screen of a mobile phone enables us to rotate the screen. This situation can be articulated as a realm of experimentation in the context of cinema.<\/span><\/p>\n

According to my experience of listening to the impressions of the audience of vertical films, the screen situation presents a space of distraction to their attention of the narrative aspects of the film. Rather than trying to understand the story of the film, their attention was instead directed to the form of the film. This triggers a series of conversations on frame space, composition, and visual impression they have experienced during the film.<\/span><\/p>\n

I quote some readings, questions, and statements from the audience that I have recorded:<\/span><\/p>\n

\u201cNarrow and tiring.\u201d<\/span><\/p>\n

\u201cWhat is the difference between peeking in a horizontal-shaped hole and a vertical-shaped one?\u201d<\/span><\/p>\n

\u201cVertical position creates a more apparent distance.\u201d<\/span><\/p>\n

\u201cI\u2019m curious of what happens in the space on the left and right.\u201d<\/span><\/p>\n

\u201cOur eyes are positioned left and right, not up and down.\u201d<\/span><\/p>\n

\u201cIf we can tilt our phone screen, we can also tilt our head.\u201d<\/span><\/p>\n

\u201cMore intimate and personal.\u201d<\/span><\/p>\n

\u201cDo you shoot this with a phone or a \u2018camera\u2019?\u201d<\/span><\/p>\n

\u201cWhy vertical?\u201d<\/span><\/p>\n

\u201cWhich one was thought out first, the story or the image?\u201d<\/span><\/p>\n

\u201cEven though I\u2019m used to vertical screens, it still feels strange to watch a vertical film.\u201d<\/span><\/p>\n

\u201cUp, down.\u201d<\/span><\/p>\n

\u201cIs it better to watch it on a phone or a big screen?\u201d<\/span><\/p>\n

\u201cEyes move up and down.\u201d<\/span><\/p>\n

These are just few responses from the audiences in screenings and discussions of ROTASI (2021) in Palu, Makassar, and Solok in 2021.<\/span><\/p>\n

As an audience, for me vertical films are not as interesting as horizontal films. But its presence is important to re-examine the works of the screen in forming an imagination of an event, while considering the context of development of screen technology. It may only stand as an artistic proposition to discuss bigger things, not as a final work.<\/span><\/p>\n

-Taufiqurrahman Kifu<\/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=”10911″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1638175634112{margin-bottom: 0px !important;}”]\n

Hantu Banyu <\/b><\/h2>\n

Filmmaker <\/em>Theo Nugraha <\/b>(Indonesia)
\n<\/span>International Title<\/em> Hantu Banyu<\/b>
\n<\/strong>Country of Production<\/em>\u00a0 Indonesia
\n<\/strong>Language<\/em> Indonesian, Banjar language
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

19 min 17 sec, stereo, digital video, color, 1080×1920 (vertical), 2021<\/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_1637808846806{margin-bottom: 0px !important;}”]Filem ini memotret hubungan sosial (dan mungkin ekologis) antara sungai dan warga yg dijembatani oleh mitos Hantu Air. Kehadiran ruang-ruang gelap dan kolase cerita anonim warga memantik imajinasi penonton tentang bagaimana mitos bekerja.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637808863958{margin-bottom: 0px !important;}”]This film portrays the social (and possibly ecological) relationship between the river and the people who are bridged by the Water Ghost myth. The presence of dark spaces and collages of anonymous stories from residents sparks the audience’s imagination about how myths work.<\/span><\/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=”10912″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637809055371{margin-bottom: 0px !important;}”]Theo Nugraha<\/strong><\/em> adalah seorang seniman bunyi dari Samarinda. Diskografinya berisi hampir 200 rilisan. Dia adalah co-founder dari EXTENDED ASIA, co-diketur artistik MUARASUARA (www.muarasuara.id), dan co-curator Museum Kota Samarinda. Theo saat ini berpartisipasi dalam grup visual eksperimental Milisifilem Collective, seni performans di 69 Performance Club, dan merupakan editor EXT.ASI.PLAY (play.extended.asia).<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637809083966{margin-bottom: 0px !important;}”]Theo Nugraha<\/strong><\/em> is a sound artist from Samarinda. His discography contains almost 200 releases. He is the co-founder of EXTENDED ASIA, co-artistic director of MUARASUARA (www.muarasuara.id), and the co-curator for the Kota Samarinda Museum. Theo is currently participating in an experimental visual group Milisifilem Collective, performance art at 69 Performance Club, and is the editor of the EXT.ASI.PLAY (play.extended.asia).<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637498826429-59df6bfd-1de6″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10913″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637809234284{margin-bottom: 0px !important;}”]\n

Just Remind <\/b><\/h2>\n

Filmmaker <\/em>Ahmad Humaidi <\/strong>(Indonesia)
\n<\/span>International Title<\/em> Just Remind<\/b>
\n<\/strong>Country of Production<\/em> \u00a0Indonesia
\n<\/strong>Language<\/em> Indonesian and Sasak language
\n<\/strong>Subtitle<\/em> \u00a0–<\/strong><\/p>\n

10 min 1 sec, stereo, digital video, color, 1080×1920 (vertical), 2020<\/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_1637809307635{margin-bottom: 0px !important;}”]Melalui rekaman screen recorder sebuah telepon pintar, situasi upaya penanganan dan pencegahan COVID-19 di wilayah Pemenang Barat tertangkap dalam kamera, berkelindan bersama hiruk pikuk komunikasi si perekam pada aplikasi-aplikasi pesan dan telepon pintarnya. Dari perekaman ini, situasi sosial pun dimontasekan bersama dengan tentang bagaimana sistem sebuah telepon genggam bekerja.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637809332667{margin-bottom: 0px !important;}”]Through the recording of a screen recorder from a smartphone, the situation of the COVID-19 handling and prevention efforts in the West Pemenang area was caught on camera, intertwined with the recorder’s frenzied communication on messaging applications and smartphones. From this recording, social situations are montage along with how a mobile phone system works.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637498826798-2d9015e0-f5e0″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10914″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637809430721{margin-bottom: 0px !important;}”]Ahmad Humaidi<\/b><\/em> (Sesela Kebun Indah, 1995) menyelesaikan studi di jurusan Komunikasi Penyiaran Islam di UIN Mataram. Pernah menjadi fasilitator di beberapa kegitan lokakarya literasi media, membuat karya seni video, belajar experimentasi visual di Milisifilem Collective dan sekarang aktif di Yayasan Pasirputih sebagai koordinator program Kelas Wah (Diskusi Forum).<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637809458771{margin-bottom: 0px !important;}”]Ahmad Humaidi<\/strong> <\/em>(Sesela Kebun Indah, 1995) completed his studies in the Islamic Broadcasting Communication study at UIN Mataram. He has been a facilitator in several media literacy workshops, made video art, studied visual experimentation at the Milisifilem Collective, and is now active at the Pasirputih Foundation as the coordinator of the Kelas Wah program (Discussion Forum).<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/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=”1637508952005-8dcddf04-3f85″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10915″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637809857092{margin-bottom: 0px !important;}”]\n

24M2<\/b><\/h2>\n

Filmmaker <\/em>Valencia Winata\u00a0<\/strong> (Indonesia)
\n<\/span>International Title<\/em> 24M2<\/b><\/strong>
\n<\/strong>Country of Production<\/em>\u00a0 Indonesia
\n<\/strong>Language<\/em> Indonesian Language<\/strong>
\n<\/strong>Subtitle<\/em> \u00a0–<\/strong><\/p>\n

9 min 21 sec, stereo, digital video, BW, 1080×1920 (vertical), 2020<\/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_1637809886152{margin-bottom: 0px !important;}”]24M2 merupakan filem yang diproduksi bersama Milisifilem, sebuah grup belajar visual. Film ini menjelajah bahasa visual smartphone yaitu format vertikal. Kamera smartphone mendokumentasikan kehidupan karantina selama pandemi. Membenturkan dua ruang yang berbeda yaitu ruang kamar dengan ruang virtual. Kehadiran objek dan kegiatan pembuat filem diatur dengan ritme repetitif, yang mencerminkan hidup yang terkurung dan membosankan. Pengamatan menjadi hyper-alert terhadap sekeliling. Bahasa visual vertikal menjadi bahasa yang tepat Ketika ia mampu memperjelas himpitan ruang jelajah gerak. Ia menjadi bahasa umum yang merefleksikan pergerakan badan visual yang baru.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637809909519{margin-bottom: 0px !important;}”]24M2 is a short film produced with Milisifilem, a collective that studies visuals. This film experiments with a vertical format as part of smartphone\u2019s visual language and explores the possibility of new sensory visual language. The filmmaker uses a smartphone to document a pandemic isolation and compare two different spaces: physical and virtual space. The rhythm shows her activities that are repetitive, reflecting the isolation and boredom. Observation makes the filmmaker hyper-alert to surroundings.A vertical format is a visual language that could emphasize the limited line of sight and activities. It becomes an everyday language that reflects a new kind of body and visual movement.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532969190418-0b77954e-9992″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10916″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637810000437{margin-bottom: 0px !important;}”]V<\/em><\/strong>alencia Winata<\/em><\/strong> (Medan, 1992) adalah peneliti, penulis esai filem, dan penerjemah lepas. Ia belajar membuat filem di Nanyang Academy of Fine Arts, Singapura. Kemudian ia melanjutkan studi Kajian Filem di University of East Anglia, Inggris. Tahun 2019, ia bergabung dengan Milisifilem Collective. Sekarang ia sibuk belajar tentang <\/span>User Experience Design.<\/span><\/i><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637810021289{margin-bottom: 0px !important;}”]Valencia Winata<\/em><\/strong> (Medan, 1992) is a researcher, film essayist, and freelance translator. She studied film production in Nanyang Academy of Fine Arts, Singapore. She continued her studies in Film Studies in University of East Anglia, UK. In 2019, she joined Milisifilem Collective. Currently, she is educating herself on User Experience Design.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637508668928-70b26d28-68d0″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10918″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1638175644585{margin-bottom: 0px !important;}”]\n

Rotasi<\/b><\/h2>\n

Filmmaker <\/em>Taufiqurrahman Kifu <\/strong>(Indonesia)
\n<\/span>International Title<\/em> Rotasi
\n<\/strong>Country of Production<\/em> Indonesia
\n<\/strong>Language<\/em>\u00a0–<\/strong>
\n<\/strong>Subtitle<\/em> \u00a0–<\/strong><\/p>\n

9 min 49 sec, stereo, digital video, color, 1080×1920 (vertical), 2021<\/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_1637810682358{margin-bottom: 0px !important;}”]Pada suatu sore, di suatu tempat, seorang anak basket yang bosan memasuki tanah kosong di tengah kota. Setiap tanah kosong adalah ‘milik mereka’. Dia memutar tubuhnya, tetapi kemudian dia tidak sendirian.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637810696521{margin-bottom: 0px !important;}”]In one afternoon, at some place, a basketball boy who is bored entering an empty land in the middle of a city. Every empty land is \u2018theirs\u2019. He rotates his body, but then he is not alone.
\n<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637508669529-c734b305-14f5″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10919″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637810773631{margin-bottom: 0px !important;}”]Taufiqurrahman Kifu<\/strong><\/em> adalah seniman lintas disiplin. Ia adalah salah satu pendiri Forum Sudutpandang, sebuah organisasi nirlaba yang didirikan dan dikelola oleh kolektif seniman yang berbasis di Palu. Ia belajar visual eksperimental di kolektif Milisifilem, dan seni performans di 69 Performance Club.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637810792661{margin-bottom: 0px !important;}”]Taufiqurrahman Kifu<\/em><\/strong> is an interdisciplinary artist. Co-founder of Forum Sudutpandang, is a non-profit organization by artist collective based in Palu. He studied experimental visual in the Milisifilem collective, and performance art in 69 Performance Club.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][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=”10920″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637811221833{margin-bottom: 0px !important;}”]MILISIFILEM merupakan platform yang dibentuk Forum Lenteng pada September 2017 yang secara khusus mendalami praktik-praktik produksi visual, baik secara teknis maupun konteks yang terkait dengan persoalan sosial budaya terkini. Secara reguler, MILISIFILEM menyelenggarakan pelatihan tentang dasar-dasar visual secara lintas disiplin, menggunakan pendekatan yang partisipatoris dan kolaboratif. Para partisipan menjelajahi berbagai kemungkinan eksperimentasi visual, serta membangun kedisiplinan kolektif dalam memproduksi karya-karya visual. MILISIFILEM secara khusus melibatkan partisipan untuk mendalami aktivisme seni dan budaya dalam rangka menghadapi tantangan perubahan zaman.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637811195486{margin-bottom: 0px !important;}”]MILISIFILEM<\/strong> <\/em>is a platform established by Forum Lenteng in September 2017 to specifically explore visual production practices, both technically and in context related to current socio-cultural issues. On a regular basis, MILISIFILEM organizes workshops on visual basics across disciplines, using a participatory and collaborative approach. The participants explore various possibilities of visual experimentation, as well as build collective discipline in producing visual works. MILISIFILEM specifically involves participants to explore art and cultural activism in order to face the challenges of changing times.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

In the discourse of ethnographic film, representing the subjects living in the periphery will bring forth the experimentation of cinema aesthetics. The experimentation is in parallel with the paradigm shifts in social science and ethics that follow it. The aesthetic explorations, which range from a dramatic construction with the romantic style of Flaherty up to how to perceive anthropological facts with the style of Sensory Ethnography Lab films, contribute to the discourse on the development of this genre. The latest tendency of this cinema is indeed observational and participatory. 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