{"id":11169,"date":"2021-12-01T12:08:53","date_gmt":"2021-12-01T05:08:53","guid":{"rendered":"https:\/\/arkipel.org\/?p=11169"},"modified":"2021-12-01T15:55:21","modified_gmt":"2021-12-01T08:55:21","slug":"international-competition-03","status":"publish","type":"post","link":"https:\/\/arkipel.org\/international-competition-03\/","title":{"rendered":"International Competition 03: Tech Poetics, Experimentation, and Moving Image"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Puisi Teknologi, Eksperimentasi, dan Gambar Bergerak” css=”.vc_custom_1638333028648{margin-bottom: 0px !important;}”]Minggu, 28 November 2021, merupakan hari perdana di mana ARKIPEL <\/span>Twilight Zone – 8th Jakarta International Documentary and Experimental Film Festival<\/span><\/i> kembali menghelat rangkaian program Kompetisi Internasional dalam 3 program kuratorial yang masing-masing filemnya dapat kalian saksikan secara daring sampai 4 Desember 2021. Salah satu dari tiga program kuratorial tersebut bertajuk <\/span>Puisi Teknologi Gambar Bergerak: di \u201cAntara\u201d, \u201cSaling\u201d, dan \u201cPakai\u201d.<\/span><\/i> Program yang dikuratori oleh <\/span>Pingkan Polla<\/b> ini menyajikan delapan filem eksperimental yang terdiri dari <\/span>vulture <\/span><\/i>(2013), <\/span>Illusive Echoes <\/span><\/i>(2019), <\/span>Toranj<\/span><\/i> (2019), <\/span>Murmur<\/span><\/i> (2019), <\/span>Livestock <\/span><\/i>(2018), <\/span>Between Relating and Use<\/span><\/i> (2018), <\/span>The Library of Water<\/span><\/i> (2020), serta <\/span>Don’t Know What<\/span><\/i> (2019).<\/span><\/p>\n

Kedelapan filem menawarkan kemungkinan bahasa, cara pandang, dan daya cipta baru yang dapat dicapai oleh medium teknologi gambar bergerak bernama sinema. Eksperimen pertama terlihat pada filem <\/span>vulture<\/span><\/i> (2019). Mengutip Umi Lestari (pengajar dan kritikus filem) dalam <\/span>utasnya<\/span><\/a>, sang sutradara <\/span>Philip Hofmann<\/b>, menguji coba warna secara manual pada tanaman (teknologi <\/span>plant-based developer<\/span><\/i>) ketika mengolah seluloid. Adapula <\/span>Between Relating and Use<\/span><\/i> (2019) karya <\/span>Nazli Din\u00e7el<\/b> yang berdurasi sembilan menit dan ditangkap dengan seluloid 16mm. Uniknya, filem justru terlihat seperti tangkapan kamera digital. Filem ini sendiri mengeksplorasi gagasan soal konsep gambar <\/span>(image)<\/span><\/i> dan menghubungkannya dengan fetisisme\/ekostisme, yang menimbulkan dilema etis menyoal hubungan antara subjek dan objek.<\/span><\/p>\n

Sementara <\/span>Don’t Know What <\/span><\/i>(2018), filem pendek berdurasi delapan menit dari <\/span>Thomas Renoldner<\/b> yang cukup komikal, meretas batas-batas genre sinematik dan memanipulasi penonton <\/span>frame-by-frame<\/span><\/i> melalui teknik <\/span>editing<\/span><\/i> yang mutakhir. Eksperimentasi pada filem lain juga terlihat pada bagaimana cara <\/span>Silvester Kolbas<\/b> selaku sutradara <\/span>The Tower<\/span><\/i> (2019) bermain-main dengan efek <\/span>zoom<\/span><\/i> dengan menyoroti gedung pencakar langit dalam sebelas menit.\u00a0<\/span><\/p>\n

Sambutan filem <\/span>Murmur <\/span><\/i>(2020) hasil kolaborasi <\/span>Jan Locus<\/b> dan <\/span>Stijn Demeulenaere<\/b> menempatkan kita selaku penonton dengan pengembaraan selama sepuluh menit di mana hanya ada visual hitam-putih dan suara-suara alam yang memintas. Sedangkan <\/span>Derek Jenkins<\/b> dengan <\/span>Livestock<\/span><\/i> (2019) menangkap suasana <\/span>mundane<\/span><\/i> dalam rumah peternakan dengan ideologi <\/span>minor cinema<\/span><\/i><\/a>-nya, serta terakhir; ada <\/span>The Library of Water<\/span><\/i> (2019) yang memperlihatkan pada kita bagaimana <\/span>Damon Mohl<\/b> selaku sutradara menggunakan ruangan penuh buku dan percikan air yang kian menenggelamkan ruangan tersebut sebagai dasar estetika yang menawan sekaligus menguras emosi.<\/span><\/p>\n

Filem ini dapat diakses dari tanggal <\/span>28 November – 4 Desember <\/b>di <\/span>website Festival ARKIPEL<\/span><\/a>. Filem ini juga akan tayang di Bioskop Forum Lenteng pada <\/span>Sabtu, 4 Desember 2021<\/b>.\u00a0<\/span><\/p>\n

 <\/p>\n

Terjemahan Bahasa Inggris oleh Innas Tsuroiya<\/span><\/i>[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”Tech Poetics, Experimentation, and Moving Image” css=”.vc_custom_1638333232256{margin-bottom: 0px !important;}”]Sunday, November 28 2021, is the first day in which ARKIPEL <\/span>Twilight Zone – 8th Jakarta International Documentary and Experimental Film Festival<\/span><\/i> holds the series of International Competition in three curatorial programs, whose films are available to watch online until 4 December 2021. One of the curatorial programs is titled <\/span>The Tech-Poetry of Moving Image: in “Between”, “Relating”, and “Use”<\/span><\/i>. Curated by <\/span>Pingkan Polla<\/b>, this program presents eight experimental films consisting of <\/span>vulture<\/span><\/i> (2013), <\/span>Illusive Echoes<\/span><\/i> (2019), <\/span>Toranj<\/span><\/i> (2019), <\/span>Murmur<\/span><\/i> (2019), <\/span>Livestock<\/span><\/i> (2018), <\/span>Between Relating and Use<\/span><\/i> (2018), <\/span>The Library of Water<\/span><\/i> (2020), and <\/span>Don’t Know What<\/span><\/i> (2019).<\/span><\/p>\n

These eight films offer the new possibility of language, perspective, and creativity that can be achieved by this moving image technology called cinema. The first experiment is seen through <\/span>vulture<\/span><\/i> (2019). To quote <\/span>Umi Lestari<\/b> (film lecturer and critic) in her <\/span>thread<\/span><\/a>, the director <\/span>Philip Hofmann<\/b> manually tested the colors on plants (plant-based developer technology) when processing celluloid. Meanwhile, <\/span>Between Relating and Use<\/span><\/i> (2019) by <\/span>Nazli Din\u00e7el<\/b> that is nine-minute long in duration and shot with 16mm camera uniquely looks as if shot with a digital camera. This film explores the concept of image in relation to fetishism or exotism, which causes an ethical dilemma between subject and object.<\/span><\/p>\n

Furthermore, a pretty comical eight-minute short film <\/span>Don’t Know What<\/span><\/i> (2018) by <\/span>Thomas Renoldner<\/b> breaks the boundaries of cinematic genre and manipulates the spectators with every frame using a cutting-edge editing technique. Another experiment in film appears in how <\/span>Silvester Kolbas<\/b> as the director of <\/span>The Tower<\/span><\/i> (2019) plays with the zoom effect as he shoots skyscrapers in eleven minutes.<\/span><\/p>\n

The welcoming remark of <\/span>Murmur<\/span><\/i> (2020), a collaboration between <\/span>Jan Locus<\/b> and <\/span>Stijn Demeulenaere<\/b> places us as spectators on a ten-minute voyage where there are only black and white visuals and the sounds of nature passing by. Meanwhile, <\/span>Derek Jenkins<\/b> with <\/span>Livestock<\/span><\/i> (2019) captures the mundane situations at a farmhouse with his ideology of <\/span>minor cinema<\/span><\/a>. Finally, there’s <\/span>The Library of Water<\/span><\/i> (2019) which shows us how <\/span>Damon Mohl<\/b> as the director uses a room full of books and splashes of water that gradually submerges the room as an aesthetic foundation that is both stunning and emotionally draining.<\/span><\/p>\n

This film is available to access from <\/span>November 28 to December 4, 2021<\/b>, on <\/span>ARKIPEL Festival website<\/span><\/a>. It will also be screened in Bioskop Forum Lenteng on Saturday, December 4, 2021<\/strong>.\u00a0<\/span><\/p>\n

 <\/p>\n

English translation by Innas Tsuroiya<\/span><\/i>[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”11172,11173,11174,11175,11176,11177,11178″ img_size=”large”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

These eight films offer the new possibility of language, perspective, and creativity that can be achieved by this moving image technology called cinema. <\/p>\n","protected":false},"author":158,"featured_media":11176,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[551,535,343,384,1,385],"tags":[552,572,192,570,567,566,565,569,571,568],"jetpack_publicize_connections":[],"yoast_head":"\nInternational Competition 03: Tech Poetics, Experimentation, and Moving Image — ARKIPEL<\/title>\n<meta name=\"description\" content=\"One of the curatorial programs is titled The Tech-Poetry of Moving Image: in "Between", "Relating", and "Use". 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