{"id":11413,"date":"2022-11-22T15:03:57","date_gmt":"2022-11-22T08:03:57","guid":{"rendered":"https:\/\/arkipel.org\/?p=11413"},"modified":"2022-11-23T12:40:03","modified_gmt":"2022-11-23T05:40:03","slug":"catch-22-international-competition-2","status":"publish","type":"post","link":"https:\/\/arkipel.org\/catch-22-international-competition-2\/","title":{"rendered":"Catch 22 – International Competition 2"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1669107591345{margin-bottom: 0px !important;}”]\n

Mencatat Ulang dengan Puitik Dokumen-dokumen Rekaman dan yang Terarsipkan
\n<\/strong>Poetic Rewriting of Archived Documents and Recordings<\/em><\/strong><\/span><\/h1>\n

Host<\/em> Hafiz Rancajale<\/strong><\/p>\n

Sabtu, 26 Nov 2022 \u2013 13:00<\/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_1669112842783{margin-bottom: 0px !important;}”]Sinema sering secara tak terduga menjadi bagian penting dari penanda-penanda zaman. Situasi sosio-politik yang mengikutinya terekam secara baik di dalam artefak-artefak gambar bergerak yang tersimpan di berbagai tempat. Artefak-artefak itu selalu menjadi bahan yang sangat menarik untuk diinterpretasi ulang dalam konteks kesekarangan. Bisa jadi rekaman itu hanya sebuah rekaman suatu masa. Namun, pada konteks kesekarangan ia bisa jadi pintu masuk dalam menjelajahi bagaimana persoalan-persoalan sosio-politik selalu tak terpisahkan dalam rekaman-rekaman itu. Kemampuan seorang sutradara dalam membingkai persoalan sejarah sosio-politik itulah yang menjadikan filem-filem yang berbasis arsip ini menjadi penting untuk dilihat.<\/p>\n

Dua filem yang dihadirkan dalam sesi kompetisi internasional ini adalah filem yang berangkat dari arsip-arsip temuan dan rekaman dokumentasi sebuah gerakan demonstrasi mahasiswa. Menyelami arsip dan dokumentasi untuk dipresentasikan dalam bingkai filem, diperlukan kepekaan khusus untuk dapat menjadi relevan bagi penonton, karena materi ini kerap bersifat amat spesifik dan diperuntukkan bagi keperluan-keperluan spesifik pula.<\/p>\n

Dalam kasus program ini, ada dua perbedaan mendasar dari arsip-arsip filem ini: arsip pertama adalah sebuah karya filem yang dilarang karena situasi politik, di mana artefak filem ini tersimpan dan tak diketahui oleh publik hampir 40 tahun lamanya; arsip kedua berangkat dengan kesadaran untuk mendokumentasikan sebuah peristiwa yang dianggap penting oleh si perekam, untuk keperluan suatu pergerakan, ‘kamera’ dan rekaman sebagai corong untuk menjadi penghubung dengan publik yang lebih luas. Dengan dua karakter yang berbeda ini, tentu saja sebuah filem yang menjadikan arsip sebagai materi dasar audio visualnya, dapat diinterpretasikan secara subjektif dengan kemungkinan yang akan ditangkap oleh penonton, yang bisa jadi terpaut jarak waktu yang sangat jauh dengan peristiwa rekaman dalam arsip.<\/p>\n

Yang menarik dari dua filem dalam program ini adalah bagaimana kritisisme pada relasi sosio-politik yang mengikuti arsip dan dokumentasi ini yang hampir sama; dimensi nasionalisme sempit dalam konteks sosio-kultural dua kawasan yaitu, India dan Spanyol. Pada kenyataannya, film sebagai sebuah dokumentasi audio visual bisa jadi sangat berbeda saat seorang sutradara mampu menyelami persoalan yang paling dasar dari dimensi sosial-politik saat dokumentasi itu dibuat.<\/p>\n

Dengan teknik yang sangat jenial, filem A Night of Knowing Nothing<\/em> (2021), karya sutradara India, Payal Kapadia, mengantar kita dengan bait-bait teks yang lirih tentang persoalan kelas sosial yang tak mampu melewati batas-batas yang sudah terbangun secara kultural di India. Narator membacakan surat-surat personal antara dua aktivis mahasiswa Film and Television Institute of India yang terpisahkan karena perbedaan kasta di antara keduanya. Hal yang paling utama yang ingin disampaikan si perekam dalam rekaman dokumentasi adalah penolakan aktivis mahasiswa dengan masuknya para petinggi kampus dari kelompok ‘kanan’ (nasionalis Hindu), yang terafiliasi dengan pemerintahan Narendra Modi, dari partai nasionalis Hindu India, Partai Bharatiya Janata. Pada filem hitam-putih ini, sutradara tidak terjebak dalam romantisme gerakan perlawanan itu sendiri, namun mampu memberikan ruang yang jauh lebih dalam tentang pilihan-pilihan paradoks yang terjadi dalam gerakan mahasiswa, yang disampaikan secara puitik. Kemasan dengan pembacaan catatan surat dan catatan harian sang karakter ‘L’, memberikan sentuhan puitik tiap rangkaian cerita yang dihubungkan dengan demonstrasi mahasiswa.<\/p>\n

Sebaliknya, pada filem Outtakes\/Descartes<\/em> (2021), karya Alejandro Alvarado Jodar dan Concha Barquero, kehadiran arsip-arsip apa adanya yang menjadikannya puitis. Filem ini berangkat dari sebuah proyek riset filem dokumenter Roc\u00edo di Spanish Cinematheque tahun 2016, tempat tersimpannya ratusan gulungan 16mm yang kemudian disusun ulang. Rekaman-rekaman itu dengan sengaja ingin menghidupkan kembali gambar-gambar yang terlupakan dari filem yang sempat dilarang 40 tahun lalu. Jika merujuk pada situasi filem Roc\u00edo dirilis dan dilarang, Spanyol baru dua tahun mulai demokrasi konstitusional setelah lebih dari 40 tahun dibawah rezim nasionalis Franco. Pemilihan umum pada tahun 1978 merupakan pemilihan demokratis pertama sejak tahun 1936, dimana pengaruh ideologi francois masih sangat kuat dalam pemerintahan Spanyol pada tahun 1980an.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1669112910045{margin-bottom: 0px !important;}”]Cinema has often unexpectedly become a significant part of the markers of eras. The socio-political situation that followed was well-recorded in moving image artifacts stored in various places. Such artifacts have always been a very interesting material to be re-interpreted in the contemporary context. It could be that the record is just a document of a time. However, in the contemporary context it can be an entry point to explore how socio-political issues are always inseparable from these recordings. It is the ability of a director to frame historical socio-political issues that makes these archive-based films important to watch.<\/p>\n

Two films presented in this International Competition program are films departing from the archives of findings and recorded documentation of student demonstration movements. Diving into archives and documentation to be presented in the frame of a film, a particular sensibility is required for the films to be relevant to the audience, because these materials are often very specific and only used for specific purposes.<\/p>\n

In the case of this program, there are two fundamental differences from these film archives: first, the archive of a film that was banned due to political situations, where the artifacts of this film were kept and were not known to the public for almost 40 years; and second, archives that set out to depart with the awareness to document an event considered important by the recorder, for the sake of a movement, \u2018camera\u2019 and recording as a conduit in connecting to the wider public. With these two different characters, a film that utilizes archives as its basic audio-visual material of course can be interpreted subjectively with the possibility of what the audience will take on, whose distance from the event of the recording (the archive in question) can be very far in time.<\/p>\n

What\u2019s interesting about the two films in this program is how the criticism on the socio-political relations concerning this archive and documentation is almost similar; a narrow dimension of nationalism in the socio-cultural context of two regions namely India and Spain. In reality, film as an audio-visual documentation can be very different when a director is able to explore the most fundamental issues from the socio-political dimension when the documentation is being assembled.<\/p>\n

With a genial technique, A Night of Knowing Nothing<\/em> (2021) by Indian director Payal Kapadia introduces us through gentle verses to the problem of social class being unable to cross the boundaries that have been culturally built up in India. The narrator reads personal letters between student activists from the Film and Television Institute of India, separated due to the caste difference between the two. The main thing that the recording person wants to convey in the recorded documentation is the student activists’ rejection of the inclusion of campus leaders from the right-wing group (Hindu nationalists) affiliated with Narendra Modi’s government from India’s Hindu nationalist party, the Bharatiya Janata Party. In this black-and-white film, the director is not trapped in the romanticism of the resistance movement itself, but able to provide a much deeper space regarding the paradoxical choices that occur within the student movement, conveyed poetically. The approach through the reading of letters and diaries which belong to the character ‘L’ adds a poetic touch to each stories connected to the student demonstration.<\/p>\n

On the other hand, in Outtakes\/Descartes<\/em> (2021) by Alejandro Alvarado Jodar and Concha Barquero, the presence of archives as they are makes them poetic. This film departs from a research project on the documentary film Roc\u00edo at the Spanish Cinematheque in 2016, where hundreds of 16mm rolls were stored, then rearranged. These recordings deliberately want to revive, in the form of forgotten images from a film that was once banned 40 years ago. Referring to the situation where Roc\u00edo was released and banned, Spain had just started a constitutional democracy for two years after more than 40 years under the nationalist regime of Franco. The general election in 1978 was the first democratic election since 1936, where the influence of the Francois ideology was still very strong in the Spanish government in the 1980s.[\/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=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11354″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669113426410{margin-bottom: 0px !important;}”]\n

A Night of Knowing Nothing<\/i><\/b><\/h1>\n

Filmaker<\/em> Payal Kapadia (India)
\n<\/strong><\/span>Country of production<\/span><\/i> India<\/strong>
\n<\/span>Language<\/span><\/i> Hindi, Bengali<\/strong>
\n<\/span>Subtitles<\/span><\/i> English<\/strong><\/p>\n

99 min, stereo, digital, 16:9, color & B\/W, 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_1669113461211{margin-bottom: 0px !important;}”]Bagaimana sinema mendadar persoalan hubungan asmara dua tokoh aktivis mahasiswa yang berbeda kasta di sebuah sekolah filem? Payal Kapadia memilah persoalan yang paling kompleks dalam masyarakat India, bahwa perbedaan kasta merupakan keniscayaan kultural yang tak terelakkan. Narasi filem ini terpusat kepada surat-surat tokoh ‘L’, yang merekam persoalan pribadi tokoh ‘L’ dan dinamika para aktivis mahasiswa Film and Television Institute of India, yang menolak penujukan pimpinan kampusnya yang condong pada arah politik Hinduisme yang sedang berkuasa di India.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669113472118{margin-bottom: 0px !important;}”]How does cinema actualize the relationship between two student activists of different castes at a film school? Payal Kapadia works out the most complex problem in Indian society; that caste differences are an inevitable cultural certainty. The film\u2019s narrative is centered on the letters of the character \u2018L\u2019, which documents the personal problems of \u2018L\u2019 and the dynamics of the student activists from the Film and Television Institute of India who reject the appointment of campus leaders that lean towards the political direction of Hinduism currently in power in India.<\/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=”11421″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669113512678{margin-bottom: 0px !important;}”]Payal Kapadia adalah pembuat filem dan seniman yang berbasis di Mumbai. Ia mempelajari penyutradaraan filem di Film & Television Institute of India. Filem pendeknya <\/span>Afternoon Clouds<\/span><\/i> (2017) dan <\/span>And What the Summer is Saying<\/span><\/i> (2018) tayang perdana secara berurutan di Cin\u00e9fondation dan Berlinale. Ia adalah alumni Berlinale Talents, dan berpartisipasi di Cin\u00e9fondation – R\u00e9sidence du Festival de Cannes pada tahun 2019. Filem panjang pertamanya,<\/span> A Night of Knowing Nothing<\/span><\/i>, adalah bagian dari Director’s Fortnight selection 2021. Proyek selanjutnya,<\/span> All We Imagine as Light<\/span><\/i>, yang didukung oleh Ciclic dan Hubert Bals Fund, sedang dalam tahap pendanaan.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669113519024{margin-bottom: 0px !important;}”]Payal Kapadia is a Mumbai based filmmaker and artist. She studied Film Direction at the Film & Television Institute of India. Her short films AFTERNOON CLOUDS (2017) and AND WHAT IS THE SUMMER SAYING (2018) premiered respectively at the Cin\u00e9fondation and the Berlinale. She is a Berlinale Talents alumna and participated in 2019 at the Cin\u00e9fondation – R\u00e9sidence du Festival de Cannes. Her first feature, A NIGHT OF KNOWING NOTHING, is part of the 2021 Director’s Fortnight selection. Her next project, ALL WE IMAGINE AS LIGHT, for which she received support from Ciclic and Hubert Bals Fund, is currently in financing.<\/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=”1565524154929-a24defaf-20e3″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11355″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669113941167{margin-bottom: 0px !important;}”]\n

Descartes<\/i><\/b> (<\/b>Outtakes<\/i><\/b>)<\/b>\u00a0<\/i><\/b><\/h1>\n

Filmmaker<\/em> Concha Barquero, Alejandro Alvarado<\/strong>
\n<\/span>Country of production<\/span><\/i> Spain<\/strong>
\n<\/span>Language<\/span><\/i> Spanish<\/strong>
\n<\/span>Subtitles<\/span><\/i> English<\/strong><\/p>\n

20 min 44 sec, 16:9, stereo, HD, color & B\/W, 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_1669114062100{margin-bottom: 0px !important;}”]Concha Barquero dan Alejandro Alvarado (M\u00e1laga, 1975) adalah pembuat filem, pengajar, dan peneliti. Menjadi tandem kreatif sejak 2001, mereka telah menyutradarai beberapa filem pendek maupun panjang di bidang dokumenter kreatif, antara lain <\/span>Pepe el andaluz<\/span><\/i> (2012), yang tayang perdana di Mar del Plata International Film Festival, yang telah memiliki karir yang panjang di festival dan bioskop di seluruh dunia, memperoleh penghargaan di Documenta Madrid dan Malaga Film Festival.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669114087527{margin-bottom: 0px !important;}”]Concha Barquero and Alejandro Alvarado (M\u00e1laga, 1975) filmmakers, lecturers and researchers. Being a creative tandem since 2001, they have directed several short and feature films in the field of creative documentary, among them <\/span>Pepe el andaluz<\/span><\/i> (2012), premiered at the Mar del Plata International Film Festival, has had a long career in festivals and cinemas around the world, being awarded at Documenta Madrid and Malaga Film Festival.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565524155374-0d32eaec-05c0″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11546″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669180874545{margin-bottom: 0px !important;}”]Concha Barquero dan Alejandro Alvarado (M\u00e1laga, 1975) adalah pembuat filem, pengajar, dan peneliti. Menjadi tandem kreatif sejak 2001, mereka telah menyutradarai beberapa filem pendek maupun panjang di bidang dokumenter kreatif, antara lain <\/span>Pepe el andaluz<\/span><\/i> (2012), yang tayang perdana di Mar del Plata International Film Festival, yang telah memiliki karir yang panjang di festival dan bioskop di seluruh dunia, memperoleh penghargaan di Documenta Madrid dan Malaga Film Festival.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669180904992{margin-bottom: 0px !important;}”]Concha Barquero and Alejandro Alvarado (M\u00e1laga, 1975) filmmakers, lecturers and researchers. Being a creative tandem since 2001, they have directed several short and feature films in the field of creative documentary, among them <\/span>Pepe el andaluz<\/span><\/i> (2012), premiered at the Mar del Plata International Film Festival, has had a long career in festivals and cinemas around the world, being awarded at Documenta Madrid and Malaga Film Festival.<\/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_text_separator title=”About the Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10938″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669114150700{margin-bottom: 0px !important;}”]Hafiz Rancajale<\/strong> (Pekanbaru, 1971) adalah seniman, pembuat filem, kurator, dan salah satu pendiri Forum Lenteng. Menamatkan pendidikan Seni Murni di Institut Kesenian Jakarta (IKJ), dan kini menjadi Ketua Forum Lenteng dan juga Direktur Artistik ARKIPEL. Tahun 2017 dan 2018, ia adalah kurator Pekan Seni Media yang diadakan oleh Kementerian Pendidikan dan Kebudayaan bekerja sama dengan Forum Lenteng.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669114157611{margin-bottom: 0px !important;}”]Hafiz Rancajale<\/em><\/strong> (Pekanbaru, 1971) is an artist, filmmaker, curator, and co-founder of Forum Lenteng. He graduated from the Jakarta Institute for the Arts (IKJ) and is currently the Chairman of Forum Lenteng and the Artistic Director of ARKIPEL. In 2017 and 2018, he was the curator of Pekan Seni Media, organized by the Ministry of Education and Culture, in cooperation with Forum Lenteng.<\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

A subtle disruption to the system arises from the daily lives of people on the “periphery”, as reflected in two curated films here. Even though they do not fully agitate the dominating authorities, the “divergent model” of work, and the behaviour or response that belong to the marginalised people (outside the system) keep alive the criticism of social and economic determinants. That is perhaps the one of bromocorah’s existential trait in the society.<\/p>\n","protected":false},"author":1,"featured_media":0,"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":[618,344],"tags":[621,620,192],"jetpack_publicize_connections":[],"yoast_head":"\nCatch 22 - International Competition 2 — ARKIPEL<\/title>\n<meta name=\"description\" content=\"A subtle disruption to the system arises from the daily lives of people on the "periphery", as reflected in two curated films here. Even though they do not fully agitate the dominating authorities, the "divergent model" of work, and the behaviour or response that belong to the marginalised people (outside the system) keep alive the criticism of social and economic determinants. That is perhaps the one of bromocorah's existential trait in the society.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arkipel.org\/catch-22-international-competition-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Catch 22 - International Competition 2 — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"A subtle disruption to the system arises from the daily lives of people on the "periphery", as reflected in two curated films here. 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