{"id":11263,"date":"2021-12-14T16:03:48","date_gmt":"2021-12-14T09:03:48","guid":{"rendered":"https:\/\/arkipel.org\/?p=11263"},"modified":"2021-12-14T16:03:48","modified_gmt":"2021-12-14T09:03:48","slug":"the-language-of-vertical-cinema","status":"publish","type":"post","link":"https:\/\/arkipel.org\/the-language-of-vertical-cinema\/","title":{"rendered":"Special Screening 02: The Language of Vertical Cinema"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Bahasa Sinema Vertikal” css=”.vc_custom_1639471220178{margin-bottom: 0px !important;}”]Pada tahun 1930, pembuat filem asal Soviet, Sergei Eisenstein, menulis sebuah <\/span>esai<\/span><\/a> yang mengeluhkan standardisasi layar bioskop <\/span>(widescreen)<\/span><\/i> sebagai format tunggal dalam kegiatan presentasi sebuah filem. Layar <\/span>widescreen<\/span><\/i>, bagi Eisenstein, hanya sekadar tiruan pucat dari lukisan-lukisan abad ke-19 yang kebanyakan berwujud horizontal. Eisenstein lalu mempertanyakan sebuah tawaran bagaimana sinema juga seharusnya dapat menghadirkan upaya eksperimen dan moda presentasi yang baru, dengan, misalnya, mengadopsi kecenderungan bentuk layar yang vertikal sebagaimana<\/span> hanging scroll<\/span><\/i> dari budaya Jepang atau tangkapan-tangkapan fotografi Edgar Degas pada akhir abad ke-19.<\/span><\/p>\n

Eisenstein pernah coba mengimplementasikan dalam <\/span>Battleship Potemkin (1925)<\/span><\/i>,<\/span> di mana ia menangkap gambar sebuah tangga dengan bidikan vertikal. Tetapi seperti yang dikeluhkannya, presentasi filem masih terikat dengan layar lebar yang menubuh sebagai format tunggal sehingga bidikan vertikal yang ditangkap Eisenstein terpaksa harus “dirusak” untuk diproyeksikan ke dalam layar <\/span>widescreen<\/span><\/i>. Pada akhirnya, dominasi ini pun membawa kata ‘sinematik’ melekat bagai sinonim dengan lanskap panorama yang serba horizontal.<\/span><\/p>\n

91 tahun setelah esai yang ditulis Eisenstein, kita diuntungkan dengan kemunculan media baru, dan gawai <\/span>smartphone<\/span><\/i> untuk mengakomodasi perkembangannya mengantarkan kita pada kemungkinan-kemungkinan yang baru: di mana lazim hukumnya membawa-bawa layar video vertikal untuk merekam kegiatan di Instagram Stories, melakukan panggilan video, atau berdansa-dansa di TikTok \u2014 dengan kata lain: format vertikal sudah menjadi bagian dari keseharian kita!<\/span><\/p>\n

Tak pelak, <\/span>filmmaking <\/span><\/i>vertikal<\/span> turut pula menjamur sebagai dampak dari perkembangan teknologi dan penggunaan <\/span>smartphone<\/span><\/i>. Meski, sayangnya, sinema vertikal masih mendapatkan keterbatasan berupa hambatan kelayakan pemutaran di ruang putar komersial yang masih memakai format layar lebar sehingga filem vertikal yang tegak hanya dapat ditampilkan sebanyak 30% saja dari proyeksi layar lebar tersebut. Maka muncullah <\/span>statement<\/span><\/i> bahwa: habitat alami filem vertikal adalah <\/span>smartphone<\/span><\/i>!<\/span><\/p>\n

Menarik melihat ARKIPEL kemudian mewadahi filem-filem vertikal secara daring dari Milisifilem Collective yang dihelat mulai kemarin (12\/12\/2021) dalam program <\/span>Special Screening 02. <\/span><\/i>Filem-filem tersebut adalah <\/span>Hantu Banyu (2021)<\/span><\/i> karya <\/span>Theo Nugraha<\/b>,<\/span><\/i> Just Remind (2020) <\/span><\/i>karya <\/span>Ahmad Humaidi<\/b>, 24M2 (2020)<\/span><\/i> karya <\/span>Valencia Winata<\/b>, dan <\/span>Rotasi (2021) <\/span><\/i>karya <\/span>Taufiqurrahman Kifu<\/b>. Saya yang baru saja pulang ke Indonesia dan menjalani karantina pun dapat dengan leluasa menyaksikan filem-filem ini dalam “habitat” aslinya. Situasi menonton filem vertikal sungguh asing bagi saya, tetapi juga unik. Ada momen di mana berkali-kali saya merotasikan layar gawai saya mengikuti ke mana filem vertikal berjudul <\/span>Rotasi<\/span><\/i> memutarbalikkan tampilannya. Ada juga momen ketika realitas sinematik dalam filem <\/span>24M2<\/span><\/i> yang bereksperimentasi dengan ruang virtual <\/span>smartphone<\/span><\/i> menabrak pikiran saya yang tanpa sadar turut memencet layar gawai saya ketika tampilan media sosial Instagram muncul.<\/span><\/p>\n

Pengalaman yang asing juga terjadi ketika saya menyaksikan <\/span>Just Remind<\/span><\/i> yang mendokumentasikan upaya penanganan dan pencegahan Covid-19. Filem ditangkap tak hanya melalui kamera <\/span>smartphone<\/span><\/i>, tetapi juga melibatkan sebuah <\/span>screen recorder<\/span><\/i>. Pilihan ini efektif memontasekan situasi sosial yang sedang direkam dengan kerja telepon genggam lewat hiruk-pikuk komunikasi si perekam pada aplikasi-aplikasi yang sedang berjalan. Sementara pada tingkatan yang lebih mencangkok imajinasi sang penonton, filem <\/span>Hantu Banyu<\/span><\/i> mengumpulkan kolase cerita anonim dari warga sekitar sungai mengenai mitos Hantu Banyu dalam format layar tegak yang atmosferik.<\/span><\/p>\n

Jika filem adalah sebuah bahasa, maka keempat filem vertikal tersebut mempunyai bahasa, diksi, dan gramatika yang tidak terikat pada cara bertutur filem tradisional pada umumnya. Ada komposisi dan logika bingkai-ruang yang relatif berbeda dengan apa yang lazimnya digunakan film berformat <\/span>widescreen<\/span><\/i>. Selaku penonton, kehadiran sinema vertikal adalah sebuah kebaruan yang perlu untuk meninjau kembali kerja-kerja layar dalam membentuk imajinasi peristiwa.<\/span><\/p>\n

Program <\/span>Special Screening 02<\/span><\/i> ini masih berlangsung dan dapat diakses di website <\/span>Festival ARKIPEL<\/span><\/a> sampai 18 Desember 2021.<\/span><\/p>\n

 <\/p>\n

Terjemahan Bahasa Inggris oleh Innas Tsuroiya<\/span><\/em>[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”The Language of Vertical Cinema” css=”.vc_custom_1639471870582{margin-bottom: 0px !important;}”]In 1930, the Soviet filmmaker Sergei Eisenstein wrote an essay complaining about the standardization of cinema screen (widescreen) as the default format of film presentation. Widescreen, according to Eisenstein, is merely a thoughtless reproduction of 19th century paintings that were mostly of horizontal images. Eisenstein thus offered a proposition on how cinema should also be able to present new experimental efforts and modes of presentation by, for instance, adopting the vertical tendency of Japanese hanging scroll or photography of Edgar Degas in the late 19th century.<\/span><\/p>\n

Eisenstein once tried to implement this vertical screen in <\/span>Battleship Potemkin<\/span><\/i> (1925) where he captured stairs with vertical shot. But as he complained, the film presentation was still tied to widescreen that existed as the default format so that the vertical shots captured by Eisenstein must be “destroyed” in order to be projected onto the widescreen. In the end this domination brought the term ‘cinematic’ associated like a synonym with the panoramic landscape that is exclusively horizontal.<\/span><\/p>\n

Ninety one years after Eisenstein’s essay, we are benefitted from the emergence of new media and smartphone to accommodate its development, which bring us to new possibilities: where it’s customary to bring vertical screen to record activities on Instagram Stories, make a video call, or dance to TikTok\u2014in other words, the vertical form has been a part of our daily life!<\/span><\/p>\n

Inevitably, vertical filmmaking has also mushroomed as the result of technological developments and the use of smartphones. Although unfortunately, vertical cinema still has its limitations in the form of obstacles to the screening feasibility at the commercial screening space that still use the widescreen format so that upright vertical films can only be shown as much as 30% of the widescreen projection. Thus emerges the statement: that the natural habitat of vertical film is the smartphone!<\/span><\/p>\n

It’s interesting to see that ARKIPEL then facilitates online vertical films from <\/span>Milisifilem Collective<\/b> held yesterday (12\/12\/2021) in the Special Screening 02 Program. The films are as follows: <\/span>Hantu Banyu (2021)<\/span><\/i> by <\/span>Theo Nugraha<\/b>, Just Remind (2020) <\/span><\/i>by <\/span>Ahmad Humaidi<\/b>, 24M2 (2020) <\/span><\/i>by <\/span>Valencia Winata<\/b>, <\/span><\/i>and<\/span> Rotasi (2021) <\/span><\/i>by <\/span>Taufiqurrahman Kifu<\/b>.<\/span><\/i> I, having recently arrived in Indonesia and been quarantined, could freely watch these films in their “natural habitat.” The viewing situation of vertical films is so foreign to me, as well as unique. There was a moment when I rotated my phone screen several times to follow where the vertical film <\/span>Rotasi <\/span><\/i>rotates its presentation. There was also a moment when the cinematic reality of the film <\/span>24M2<\/span><\/i> which experimented with the virtual space of a smartphone ‘crashed’ into my mind that I reflexively tapped the screen when the Instagram social media interface appeared.<\/span><\/p>\n

The foreign experience also happened when I saw <\/span>Just Remind<\/span><\/i> which documented the curative and preventive effort for COVID-19. The film is not only shot from a smartphone camera, but also involves a screen recorder. This choice effectively montages the social situation being recorded by phone by way of the recorder’s cacophonous communication through the working apps. Meanwhile, on a level that further magnifies the audience’s imagination, <\/span>Hantu Banyu<\/span><\/i> collects a collage of anonymous stories from the residents around the river about the myth of Hantu Banyu in an atmospheric vertical format.<\/span><\/p>\n

If cinema is a language, then all four vertical films possess a language, diction, and grammar untied from the common storytelling style of traditional film. There’s the composition and the logic of frame-space relatively different from the commonly used widescreen. As an audience, the existence of vertical cinema is a necessary novelty, revisiting the work of screen in shaping the imagination of events.<\/span><\/p>\n

The Special Screening 02 Program is ongoing and available to access via the Festival ARKIPEL<\/a> <\/strong>website until 18 December 2021<\/strong>.<\/span>[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”11266,11267,11269,11268″ img_size=”medium”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

In 1930, the Soviet filmmaker Sergei Eisenstein wrote an essay complaining about the standardization of cinema screen (widescreen) as the default format of film presentation. 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