{"id":11076,"date":"2021-11-28T00:45:07","date_gmt":"2021-11-27T17:45:07","guid":{"rendered":"https:\/\/arkipel.org\/?p=11076"},"modified":"2021-11-29T15:42:19","modified_gmt":"2021-11-29T08:42:19","slug":"forum-festival-2021-panel-1","status":"publish","type":"post","link":"https:\/\/arkipel.org\/forum-festival-2021-panel-1\/","title":{"rendered":"Forum Festival Panel 1: Exploring Possible Languages of Cinema Through Ecological Landscapes and Today’s Media"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Menelisik Kemungkinan Cara Tutur Sinema Lewat Lanskap Ekologi dan Media” css=”.vc_custom_1638175196944{margin-bottom: 0px !important;}”]\n
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Peradaban yang secara konstan berubah<\/strong> membuat cara tutur sinema pun berkembang lewat berbagai bahasa. Ada kemungkinan-kemungkinan potensi bahasa sinema yang berjalan seiring dengan krisis, fenomena, serta urgensi dari suatu wilayah tempat gagasan-gagasan audio visual diramu. ARKIPEL <\/span>Twilight Zone – 8th Jakarta International Documentary and Experimental Film Festival <\/span><\/i>pun hadir untuk mengupas kemungkinan tersebut lewat berbagai perspektif dalam program Forum Festival Panel 1:<\/span> Bahasa-bahasa yang Mungkin.<\/span><\/i><\/p>\n

Pada hari Jumat (26\/11\/2021) pukul 7 malam WIB, dua pembicara memaparkan gagasan mereka terkait pengaruh peradaban terhadap bahasa sinema<\/span>. Pujita Guha<\/b>, seorang kurator dan akademisi dari India, serta <\/span>Afrian Purnama<\/b>, seorang kurator dan penulis dari Indonesia, menangkap potensi bahasa sinema dari dua perspektif yang berbeda.<\/span><\/p>\n

Dimoderatori oleh <\/span>Anggraeni Widiasih<\/b>, penulis dan kurator dari Indonesia, diskusi panel ini diawali dengan pemaparan Pujita Guha soal kemungkinan bahasa sinema yang lahir dari lanskap ekologi. Kondisi geopolitik di sebuah kawasan ternyata dapat memantik potensi penuturan media audio visual yang baru, di mana praktik rekam terjadi mengikuti lokasi pijakan kamera serta sisi historis peradaban manusia yang juga memiliki hubungan erat dengan bentang alam sekitarnya.<\/span><\/p>\n

What The Field Remembers <\/span><\/i>(2015) karya Subasri Krishnan<\/span> menjadi film pertama yang dibahas oleh Pujita Guha untuk mendukung pemaparannya. Sebuah film dokumenter tentang tragedi genosida di Assam, India, ini menunjukkan hubungan erat lanskap dengan sejarah peradaban rakyat di wilayahnya. Tidak ada jejak bangunan atau monumen, memori pahit genosida tersebut hanya bisa dituturkan lewat bentang alam yang menjadi saksi kematian lebih dari 2000 umat Muslim. Sungai bak rambu-rambu jalan yang mengingatkan penyintas, detik demi detik runtutan kematian itu terjadi.<\/span><\/p>\n

Menurut pemaparan Pujita Guha, praktik rekam yang mengikuti bentang alam tempat kamera diletakkan secara jelas disampaikan dalam film <\/span>Phum Shang <\/span><\/i>(2015) Haoban Paban. Pulau-pulau yang bebas mengambang dan bergerak berusaha dijahit dengan bambu oleh para masyarakatnya. Kamera bergerak seakan mengikuti pola jahitan. Secara tidak stabil, kamera pun bergerak mengikuti dayungan perahu kecil yang melintasi pulau-pulau tersebut.<\/span><\/p>\n

Lain dengan pemaparan Pujita Guha, Afrian Purnama menangkap kemungkinan-kemungkinan bahasa sinema lewat media audio visual yang erat dengan budaya dan kepercayaan masyarakat yang mengonsumsinya. Tayangan uji nyali dan berburu hantu yang mondar-mandir setiap malam Jumat di televisi lokal menjadi pendukung penjelasan Afrian. Zona temaram yang dikawinkan dengan praktik rekam akan melahirkan bayang.<\/span><\/p>\n

Bayang dan kekurangan dari praktik rekam di ruang gelap area uji nyali tersebut diterjemahkan oleh penonton sebagai fenomena gaib. Bayangan yang ada dalam bingkai media audio visual seakan mampu menjadi representasi atas apa yang tidak dapat ditangkap oleh kamera, namun dipercaya oleh masyarakat yang menonton. Afrian menyoroti potensi bahasa baru dengan media video yang dibentuk oleh tafsiran tanpa ada beban sejarah atau realita.<\/span><\/p>\n

Uniknya, Afrian menemukan bahwa hantu juga menjadi potensi bentuk seni atau media audio visual yang kontemporer, sebab makhluk gaib tersebut bergerak seiring berkembangan teknologi. Hantu selalu bisa beradaptasi dengan modernitas manusia.\u00a0<\/span><\/p>\n

Gagasan dan perspektif berbeda dari kedua panelis tersebut memantik beberapa pertanyaan dari partisipan yang hadir, salah satunya dari Luthfan Nur Rochman yang bertanya soal bagaimana konteks geopolitik Indonesia bisa berpengaruh dengan eksperimentasi medium video. Menjawab pertanyaan tersebut, Afrian Purnama menyampaikan bahwa setiap daerah di Indonesia memiliki ciri medium audio visualnya sendiri.<\/span><\/p>\n

\u201cSaat pemutaran film di Bandung, ada terminologi \u2018filmnya Yogya banget\u2019 yang datang dari penonton,\u201d cerita Afrian.<\/span><\/p>\n

Mengenai terminologi ciri khas media audio visual per daerah tersebut, menurut Afrian, belum ada definisi baku, sehingga estetika setiap daerah masih dipertanyakan. Namun, ciri memang terlihat tumbuh sebagai identitas sejarah dan kebudayaan setiap tanah.<\/span><\/p>\n

Panel yang dihadiri oleh 35 partisipan ini mengumpulkan total 4 pertanyaan yang menjadi diskusi menarik dan mendalam soal kemungkinan-kemungkinan bahasa sinema. Perkembangan peradaban manusia tentu menjadi faktor utama yang melahirkan penuturan baru dalam media audio visual. Secara keseluruhan, media audio visual, dalam hal ini adalah sinema, dapat dibaca dari praktik rekam yang berhubungan erat dengan kondisi geopolitik dan sosial budaya suatu wilayah.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n<\/div>\n

Terjemahan Bahasa Inggris oleh Agatha Danastri Pertiwi<\/em><\/p>\n<\/div>\n[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”Exploring Possible Languages of Cinema Through Ecological Landscapes and Today’s Media” css=”.vc_custom_1638175205715{margin-bottom: 0px !important;}”]Civilizations that are constantly changing make cinema\u2019s way of speech develop through various languages. There are potential possibilities of cinematic language that go hand in hand with the crisis, phenomena, and urgency of an area where audio-visual ideas are mixed. ARKIPEL<\/span> Twilight Zone – 8th Jakarta International Documentary and Experimental Film Festival<\/span><\/i> was also present to explore this possibility through various perspectives in the Forum Festival Panel 1: <\/span>The Possible Languages.<\/span><\/i><\/p>\n

On Friday (11\/26\/2021) at 07.00 p.m. GMT+7, two speakers presented their ideas regarding the influence of civilization on the language of cinema. <\/span>Pujita Guha<\/b>, a curator and academic from India, and <\/span>Afrian Purnama<\/b>, a curator and writer from Indonesia, capture the potential languages of cinema from two different perspectives.<\/span><\/p>\n

Moderated by <\/span>Anggraeni Widiasih<\/b>, a writer and curator from Indonesia, this panel discussion begins with Pujita Guha’s explanation about the birth of possibility of cinematic language from ecological landscapes. Geopolitical conditions in a particular area can actually ignite the potential for new audio-visual media narratives. Recording practices following the camera’s footing location and the historical side of human civilization, which also has a close relationship with the surrounding landscape.<\/span><\/p>\n

What The Field Remembers<\/span><\/i> (2015) by Subasri Krishnan became the first film that Pujita Guha discussed to support her presentation. A documentary about the genocide tragedy in Assam, India, it shows the landscape’s close relationship with the history of civilized peoples in its region. There are no traces of buildings or monuments. The bitter memory of the genocide can only be told through the landscape that witnessed the deaths of more than 2000 Muslims; rivers are like road signs reminding survivors, second by second the sequence of deaths occurs.<\/span><\/p>\n

According to Pujita Guha’s presentation, the recording practice by following the landscape is clearly conveyed in <\/span>Phum Shang<\/span><\/i> (2015) a film by Haoban Paban. The islands that are free to float and move are trying to be sewn with bamboo by the people. The camera moves following the stitch pattern. Unsteadily, the camera moves to follow the rowing of a small boat that crosses the islands.<\/span><\/p>\n

In contrast to Pujita Guha’s presentation, Afrian Purnama captures the possibilities of cinematic language through audio-visual media, which is closely related to the culture and beliefs of the people who consume it. Shows like ghost buster or any kind of horror genre that go around at Friday nights on local television support Afrian’s explanation. The twilight zone that is married to the practice of recording will create shadows.<\/span><\/p>\n

The shadows and shortcomings of the recording practice in the dark room were interpreted by the audience as a supernatural phenomenon. The images in the audio-visual media frame seem to be able to represent what the camera cannot capture, but is believed by the people who watch it. Afrian highlights the potential of a new language with video, shaped by interpretation without any historical burden.<\/span><\/p>\n

Uniquely, Afrian found that ghosts are also a potential form of contemporary art or audio-visual media because these supernatural creatures move along with technological developments. Ghosts can always adapt to human modernity.<\/span><\/p>\n

The different ideas and perspectives of the two panelists sparked several questions from the participants who were present, one of which was from Luthfan Nur Rochman who asked how the Indonesian geopolitical context could affect the experimentation of the video medium. Afrian Purnama answered that every region in Indonesia has its own audio-visual medium characteristics.<\/span><\/p>\n

“During the screening of the film in Bandung, there was a terminology ‘the film is so Jogja (Yogyakarta)’ that came from the audience,” Afrian aswered.<\/span><\/p>\n

Regarding the terminology characteristic of audio-visual media per region, according to Afrian, there is no standard definition yet, so the aesthetics of each region are still being questioned. However, the characteristics do seem to grow as the historical and cultural identity of each land.<\/span><\/p>\n

The panel, which was attended by 35 participants, collected a total of 4 questions which became interesting and in-depth discussions about the possibilities of cinematic language. The development of human civilization is certainly the main factor that gives birth to new narratives in audio-visual media. Overall, audio-visual media, in this case is called cinema, can be read from recording practices that are closely related to the geopolitical and socio-cultural conditions of a region.<\/span><\/p>\n

 <\/p>\n

English translation by Agatha Danastri Pertiwi.<\/em>[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_video link=”https:\/\/www.youtube.com\/watch?v=w-Bpz-BhG8U”][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator border_width=”7″][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery type=”flexslider_slide” interval=”3″ images=”11091,11092,11093″ img_size=”large”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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