{"id":11414,"date":"2022-11-22T15:04:10","date_gmt":"2022-11-22T08:04:10","guid":{"rendered":"https:\/\/arkipel.org\/?p=11414"},"modified":"2022-11-23T01:15:03","modified_gmt":"2022-11-22T18:15:03","slug":"catch-22-international-competition-3","status":"publish","type":"post","link":"https:\/\/arkipel.org\/catch-22-international-competition-3\/","title":{"rendered":"Catch 22 – International Competition 3"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1669140896876{margin-bottom: 0px !important;}”]\n

Dari Luar, ke Dalam, dan Sebaliknya
\n<\/b>From the Outside In, and Vice Versa<\/b><\/em><\/span><\/h1>\n

Host<\/em> I Gde Mika<\/strong><\/p>\n

Kamis, 1 Des 22 \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_1669140340409{margin-bottom: 0px !important;}”]Konteks yang paling sederhana dari gambar adalah bingkai. Konteks tersebut dapat dideteksi dengan mundur selangkah ke belakang. Tapi, dapatkah bingkai merefleksikan dirinya sendiri dengan dan melalui acuannya sendiri? Ketakterhinggaan pemantulan diri sendiri berujung pada kebuntuan.\u00a0<\/span><\/p>\n

Sebaliknya, secara prinsip, bingkai ada karena objek di dalamnya. Pengulangan hubungan keduanya pun menciptakan citra tertentu. Keberadaan objek terhadap bingkai bukan bebas, agregasi keduanya merupakan bahan baku dari citra. Di sisi lain, bingkai belajar dari objek tentang hal-hal di luar dirinya menurut cakupan bingkai-gambar, seperti intensi dari sosok di baliknya, ataupun siapa yang hendak ia alamatkan. Keterangan waktu tidak melibatkan dirinya secara langsung, karena gerak yang tercipta di antara gambarlah yang mengundang keterlibatannya di dalam filem.\u00a0<\/span><\/p>\n

Demikian titik tolak dari film <\/span>Make a Distinction<\/span><\/i> (2021) dan <\/span>Mayday! May day! Mayday! <\/span><\/i>(2022). Kedua filem ini tak hanya berada dalam tatanan aktualitas peristiwa yang terjadi di depannya, yang juga menandakan kesementaraannya. Namun, filem-filem ini juga menunjukkan kemenduaan antara siapa yang dialamatkan di dalam bingkai serta yang akan teralamatkan di luarnya. Kemenduaan ini menjadi semacam rute yang diambil dalam dua bidang yang terpisah: yang satu harus menjadi pusat pandangan kamera; yang kedua, melalui sosok lainnya. Kemenduaan terpancar dari aksi interventif yang kemudian menjadi penampilan di dalam layar. Gerakan keluar-masuk layar ini menjadi perpindahan yang turut mengalihkan peran. Gerak menjorok ke dalam bingkai ini mewujud lewat interaktivitas persoalan.<\/span><\/p>\n

Intervensi pembuat filem tersebut adalah sebuah transisi adegan yang tidak linear, namun merupakan aksi pelacakan topologis dua bidang terhubung yang tidak seukuran. Bingkai bukanlah batas, melainkan lorong perantara yang bisa dipahami lewat interaksi di depan bingkai. Ruang imajiner di belakang kamera, atau ruang kontinuum dari lorong bingkai, bisa tercipta di kepala penonton, karena terjadi secara bersamaan: penjarakan dan pendekatan atas proses interaksi dan momen yang tertangguhkan.\u00a0<\/span><\/p>\n

Kedua filem ini berupaya untuk meloloskan dirinya dari pantulan tak terhingga. Mereka menyodorkan interaksi sebagai persoalan yang ada di sana. Sedangkan, tindakan interventif memanifestasikan sinema sebagai ruang ketiga. Filem ini berdialog tidak hanya dengan penonton, tapi juga dengan wacana yang dibangun oleh topologis ruang-ruang tersebut di atas.\u00a0<\/span><\/p>\n

Make a Distinction<\/span><\/i> adalah pelacakan langsung situasi kota Chicago dalam rangkaian imaji-imaji yang mengelilinginya: dari logo <\/span>franchise<\/span><\/i> sampai tahap produksi film yang menyertainya. Contohnya, adegan syuting film diintervensi oleh polisi, institusi yang sekaligus mengontrol representasinya sebagai sang penyelamat. Pembentukan “citra-polisi” yang terlibat masuk lewat pengaturan proses produksi film tersebut adalah imajinasi masyarakat integralistik yang berada dalam bayang-bayang kebijakan. Pengintaian di sini menjadi analogi yang mempertegas kesan penyelidikan terhadap sesuatu.\u00a0\u00a0<\/span><\/p>\n

Mayday! May day! Mayday! <\/span><\/i>\u00a0bercerita tentang peristiwa pasca demonstrasi buruh di masa lima tahun mogok kerja di tambang batu bara di Timika, Papua. Filem berfokus pada situasi paradoksal dari masing-masing tokoh yang bertahan dalam penantian mereka. Mereka berjuang tuk memenuhi kebutuhan sehari-hari. Tindakan interventif dibangun lewat suara sutradara pada saat wawancara. Sutradara menjadi perantara dari dua peristiwa yang terpisah: <\/span>footage<\/span><\/i> demonstrasi yang sedang berlangsung dan situasi pasca-demonstrasi. Persimpangan terjadi lewat obrolan dengan para tokoh yang terlibat di dalam peristiwa tersebut. Salah satu tokohnya, Deni Purba, yang selalu disertai istrinya, Pasuputri, terjerembap antara lingkup politik sebagai mantan narapidana karena aksi pemogokannya dan upaya pemenuhan kebutuhannya sehari-hari. Ia tidak dapat kembali dari situasi tersebut, ataupun menangguhkan persoalan yang tak terselesaikan. <\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1669140357888{margin-bottom: 0px !important;}”]The simplest context of an image is a frame. The context can be detected by taking a step back. But, can a frame reflect itself with and through its own terms? The infinity of self-reflections leads to a deadlock.<\/span><\/p>\n

Instead, in principle, a frame exists because of the object inside of it. The repetition of the relationship between the two creates a certain image. The object is not independent of the frame; the aggregation of both becomes the raw material of an image. On the other hand, the frame learns from the object about things outside of itself according to the scope of the frame-image, such as the intentions of the figure behind it, or whom does it address. The description of time does not involve the frame directly, but the movement which emerged between images invites its involvement to the film.<\/span><\/p>\n

This is the starting point of <\/span>Make a Distinction <\/span><\/i>(2021) and <\/span>Mayday! May day! May day! <\/span><\/i>(2022). These two films not only belong in the order of the actuality of the events that happened in front of them, signifying their temporality. But these films also show the ambiguity between who is addressed in the frame and who will be addressed outside it. This ambiguity becomes a kind of route taken in two separate planes: the first must be the center of attention of the camera; the second through another figure. The ambiguity is radiated from acts of intervention, which would later make its appearance on the screen. This movement of going in and out of the screen is a movement that also switches their roles. The intrusive movement into the frame manifests itself through the interactivity of the problem.<\/span><\/p>\n

The filmmaker’s intervention is not a linear transition between scenes, but a topological investigation of two connected planes that are not of the same size. The frame is not a boundary, but an intermediary passage that can be understood through the interaction in front of the frame. An imaginary space behind the camera, or a space continuum from the passage of the frame, can be formed in the spectator\u2019s head; because the distancing and approaching of the interaction process and the suspended moment happens simultaneously.<\/span><\/p>\n

Both of these films try to escape the infinite reflection. They present interaction as a problem that is <\/span>there<\/span><\/i>. Meanwhile, acts of intervention manifests cinema as a third space. This film does not only converse with the spectator, but also with the discourse that is constructed by the topology of the spaces mentioned above.<\/span><\/p>\n

Make a Distinction <\/span><\/i>is a direct tracking of the situation in the city of Chicago in the series of images that surround it: ranging from franchise logos<\/span> to steps of the film production itself. For example, a film shooting scene is intervened by the police, an institution that also controls its representation as the savior. The formation of the “police-image” through the constraining of the film production is an imagination of an integralist society under the shadows of policy. Surveillance becomes an analogy which emphasizes the impression of investigating something.<\/span><\/p>\n

Mayday! May day! May day!<\/span><\/i> tells the story of the events following the labor demonstration during the five-year strike at a coal mine in Timika, Papua. The film focuses on the paradoxical situation of each character who tried to survive in their long wait. They struggle to meet their daily needs. Interventive action is built through the director’s voice during the interview. The director mediates two separate events: footage<\/span> of the ongoing demonstration and the post-demonstration situation. The intersection occurred through conversation with the figures involved in the event. One of the characters, Deni Purba, who is always accompanied by his wife, Pasuputri, is torn between the political sphere as an ex-convict because of his strike action and efforts to fulfill his daily needs. He cannot return from the situation, nor can he postpone these unresolved issues.<\/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=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11356″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669140455032{margin-bottom: 0px !important;}”]\n

Mayday! May day! Mayday!<\/i><\/b><\/h1>\n

Filmaker<\/em> Yonri Revolt
\n<\/strong><\/span>Country of production<\/span><\/i> Indonesia<\/strong>
\n<\/span>Language<\/span><\/i> Indonesia<\/strong>
\n<\/span>Subtitles<\/span><\/i> English<\/strong><\/p>\n

66 min, stereo, digital, 16:9, B\/W, 2022<\/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_1669140475568{margin-bottom: 0px !important;}”]Bercerita tentang peristiwa pasca demonstrasi buruh di masa lima tahun mogok kerja di tambang batu bara di Timika, Papua.mereka mencoba bertahan hidup dengan berbagai cara. Pembuat filem ikut serta berbincang dengan para pekerja, hadir hanya melalui suara dan gerak bingkainya, tanpa tubuh. Navigasi antar tempat memperlihatkan berbagai posisi dengan kondisinya masing-masing. Konfigurasi dan kemungkinan baru memungkinkan filem ini menyaring makna lisan. Subjek mengalami keharusan untuk memenuhi kebutuhan sehari-hari sekaligus menanggung beban sebagai mantan narapidana. Ia tidak dapat kembali dari situasi tersebut, ataupun menangguhkan persoalan yang tak terselesaikan.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669140491950{margin-bottom: 0px !important;}”]It tells the story of the events after the workers’ demonstration during the five-year strike at a coal mine in Timika, Papua. They try to survive in various ways. The filmmaker participates in conversing with the workers, present only through the sound and movement of the frames, without bodies. Navigation between places shows various positions with their respective conditions. New configurations and possibilities allow this film to distill the spoken meaning. Subjects experience the necessity to meet their daily needs while at the same time bearing the burden of being an ex-convict. He cannot return from the situation, nor can he postpone these unresolved issues.<\/span><\/p>\n[\/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=”6532″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669140809825{margin-bottom: 0px !important;}”]Yonri Revolt adalah penulis, jurnalis, pembuat film, dan salah satu pendiri Komunitas Yoikatra, berbasis di Timika, Papua. Tahun 2014, komunitas ini mengembangkan program Halaman Papua yang berfokus pada isu perempuan di daerah konflik. Film dokumenter yang diproduksinya dengan Yoikatra antara lain<\/span> Tiga Mama Tiga Cinta <\/span><\/i>(2015), <\/span>Di Balik Taman Eden<\/span><\/i> (2015), <\/span>Mama Fin<\/span><\/i> (2015), dan <\/span>Inside Sack <\/span><\/i>(2018). Tahun 2016, film dokumenternya yang berjudul <\/span>Mama Amamapare<\/span><\/i> (2016) memenangkan penghargaan Film Dokumenter Pendek Terbaik di Festival Film Indonesia, dan Film Terbaik di Eagle Awards, Documentary Competition. Sejak 2015, berkolaborasi dengan Yoikatra, Yonri mengembangkan proyek-proyek dokumenter dan jurnalisme warga melibatkan warga setempat, mengusung isu-isu penting di Papua, mengembangkan pengarsipan dan program presentasi publik.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669140837187{margin-bottom: 0px !important;}”]Yonri Revolt is a writer, journalist, filmmaker, and co-founder of Yoikatra Community, based in Timika, Papua. In 2014, the community developed the Halaman Papua program which focuses on issues of women in conflict areas. The documentary films he produced with Yoikatra are <\/span>Tiga Mama Tiga Cinta<\/span><\/i> (2015), <\/span>Di Balik Taman Eden<\/span><\/i> (2015), <\/span>Mama Fin<\/span><\/i> (2015), <\/span>Inside Sack<\/span><\/i> (2018). In 2016, his documentary film entitled <\/span>Mama Amamapare <\/span><\/i>(2016) won the Best Short Documentary Award at the Indonesian Film Festival and Best Film at the Eagle Awards, Documentary Competition. Since 2015, in collaboration with Yoikatra, Yonri has developed documentary projects and citizen journalism involving local citizens, raising crucial issues in Papua, and developing public archiving and presentation programs.<\/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=”11357″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669140583960{margin-bottom: 0px !important;}”]\n

Make a Distinction<\/i><\/b><\/h1>\n

Filmmaker<\/em> Kera MacKenzie, Andrew Mausert-Mooney
\n<\/strong><\/span>Country of production<\/span><\/i> USA<\/strong>
\n<\/span>Language<\/span><\/i> English<\/strong>
\n<\/span>Subtitles<\/span><\/i> English<\/strong><\/p>\n

61 min, stereo, digital, 16:9, color, 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_1669140630622{margin-bottom: 0px !important;}”]Filem ini menyelidiki bagaimana sebuah tempat, kota Chicago, mampu dengan puitis melihat keterhubungannya dengan bentuk-bentuk propaganda dan kuasa dari berbagai lini gambar-gambar yang tereproduksi. Propagandanya masuk ke dalam berbagai bentuk representasi: dari logo-logo <\/span>franchise<\/span><\/i>, baju-baju modis, sampai ke dalam filem melalui aktor sematan (citra polisi) regulasi dan otoritas institusi. Sesuai dengan judul filemnya, ia mencoba membentuk partisi-partisi antara apa yang terlihat dan tidak terlihat dalam sudut pandang yang diarahkan kepada penonton (konsumen). Filem ini mengambil posisi itu, dan mengungkap titik buta dari penonton.\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669140645441{margin-bottom: 0px !important;}”]This film investigates how a place, the city of Chicago, can poetically see its connection with forms of propaganda and the power of various lines of images reproduced. Its propaganda enters into various forms of representation: ranging from franchise<\/span> logos, fashionable clothes, to films through embedded actors (police-image) regulations, and institutional authorities. As the title of the film, he tries to form distinctions between what is seen and what is not seen from the point of view directed at the spectators (consumers). This film takes that position and reveals the blind spots from the spectators.<\/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=”11504″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669140721013{margin-bottom: 0px !important;}”]Kera MacKenzie and Andrew Mausert-Mooney are Chicago-based anti-imperialist artists working primarily in film, video, live broadcast, and installation. Their works have screened and exhibited at venues including the International Film Festival Rotterdam, the American Film Institute, Anthology Film Archives, the Museum of Contemporary Art Chicago, UnionDocs, and Chicago Underground Film Festival.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669140727430{margin-bottom: 0px !important;}”]Kera MacKenzie and Andrew Mausert-Mooney are Chicago-based anti-imperialist artists working primarily in film, video, live broadcast, and installation. Their works have screened and exhibited at venues including the International Film Festival Rotterdam, the American Film Institute, Anthology Film Archives, the Museum of Contemporary Art Chicago, UnionDocs, and Chicago Underground 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=”11410″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669101306279{margin-bottom: 0px !important;}”]I Gde Mika<\/b> (Mataram, 6 Desember 1999) adalah pekerja budaya yang sedang menempuh pendidikan di Institut Kesenian Jakarta (IKJ) jurusan Kajian Sinema. Ia adalah salah satu anggota Forum Lenteng sekaligus partisipan Milisifilem Collective. Bergerak, berkolaborasi dalam pembuatan filem bersama kawan-kawan; sebagai kameramen di filem DOLO (2020) disutradarai Hafiz Rancajale, dan sebagai realisator bersama Yuki Aditya dalam filem Kelana Citra Jakarta (2021) dan Segudang Wajah Para Penantang Masa Depan (2022).<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669101332264{margin-bottom: 0px !important;}”]I Gde Mika<\/b> (Mataram, 6 Desember 1999) is a cultural worker who is currently studying Film Studies in Jakarta Institute of Arts. He is one of the members of Forum Lenteng as well as a participant in Milisifilem Collective. He moves and collaborates with his friends: as a cameraman in DOLO (2022) director Hafiz Rancajale; and as realisators with Yuki Aditya in <\/span>Kelana Citra Jakarta<\/span><\/i> (2021) dan <\/span>Segudang Wajah Para Penantang Masa Depan<\/span><\/i> (<\/span>The Myriad of Faces of the Future Challengers<\/span><\/i>, 2022).<\/span>[\/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 3 — 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-3\/\" \/>\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 3 — 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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