{"id":11436,"date":"2022-11-22T18:31:53","date_gmt":"2022-11-22T11:31:53","guid":{"rendered":"https:\/\/arkipel.org\/?p=11436"},"modified":"2022-11-23T16:01:35","modified_gmt":"2022-11-23T09:01:35","slug":"catch-22-international-competition-10","status":"publish","type":"post","link":"https:\/\/arkipel.org\/catch-22-international-competition-10\/","title":{"rendered":"Catch 22 – International Competition 10"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1669190369143{margin-bottom: 0px !important;}”]\n

Pertanyaan Tidak Mendesak dan Penelitian Telaten Lanjutannya
\n<\/b><\/strong>An Unecessary Question and Its Further Attentive Research<\/em><\/strong><\/a><\/span><\/h1>\n

Host<\/em> Otty Widasari<\/strong><\/p>\n

Minggu, 2 Des 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_1669190855955{margin-bottom: 0px !important;}”]\n

\u201cHubungan Utara-Selatan dimulai di sana. Apapun yang terjadi di depan kamera berada di Selatan. Kamera itu sendiri berada di Utara. Kamera seperti kompas, menunjuk ke arah selatan dan kau kehilangan pandanganmu tentang utara.\u201d \u2013Serge Daney<\/p>\n

 <\/p>\n

Kalimat mutiara di atas diibaratkan oleh seorang pengajar sebuah kampus di Belgia, Patrick Leboutte, sebagai enigma, tentang hubungan Utara-Selatan, dan kaitannya dengan sinema. Menurutnya, kalimat tersebut menyiratkan bahwa, dalam pembuatan sinema kita harus rela kehilangan pandangan kita tentang Utara, dan selalu bicara tentang makna dari Selatan.<\/p>\n

Dan sebaliknya, sebagian\u00a0 \u201ckita\u201d yang ada di sini harus rela duduk di bawah kaca prisma teropong dominasi power Utara, sebagai objek amatan.<\/p>\n

\u201cBagaimana jika ideologi dari teknologi meneropong tersebut ternyata rasis dan diskriminatif?\u201d <\/em><\/p>\n

Sebelumnya, perlukah pertanyaan itu muncul? Bukankah posisi subjek yang meneropong saja sudah bersifat diskriminatif sejak awal?<\/p>\n

Film Prisme<\/em> yang diproduksi oleh tiga sutradara perempuan lintas negara dan lintas warna kulit ini menawarkan pertanyaan awal yang tidak mendesak tersebut, namun juga menjabarkan penyelidikan telaten tentang problematika kalibrasi kamera terhadap warna kulit warga dunia selain kulit putih. Pertanyaan tersebut menarik lebih jauh para sutradaranya, khususnya yang berasal dari Afrika, pada situasi pencarian makna-makna ideologis dari teknologi kamera. Mereka juga jadi terbelit dalam persoalan-persoalan lapisan ganda identitas sebagai perempuan Afrika: Terpenjara oleh budaya, terdominasi oleh patrilinealisme, dan terkolonisasi oleh teknologi Barat.<\/p>\n

Premis tentang diskriminasi bisa menjadi pisau bermata dua saat dilemparkan pada era ini, karena diskriminasi dan rasisme sudah bermutasi ke dalam bentuk-bentuk tercanggihnya sekarang, dan masuk ke dalam sendi kehidupan multi-layer yang bahkan menjadikan pencetusnya sendiri sebagai target. Namun di saat yang bersamaan, peluang bersiasat melampauinya juga terbuka lebar. Hal inilah yang membuat Prisme<\/em> menjadi film yang menarik untuk ditelaah lebih jauh, karena perkembangan wacana global memiliki banyak jawaban langkas yang diperoleh dari metode-metode partisipatoris yang telah berkembang sejak lebih dari setengah abad lalu: menerabas tabu-tabu dan mengupayakan kesetaraan.<\/p>\n

Hal lain yang menarik dari perjalanan wacana ini adalah persilangannya dengan ranah industri, di mana moda-moda produksi industrial selalu menemukan cara-cara retas yang tak ada habisnya dalam mengatasi persoalan-persoalan yang tampaknya tidak harus dipahami secara tunggal ini. Sebagaimana Leboutte kemukakan di dalam film ini, \u201cSaya mempertontonkan film Bamako<\/em> (pada mahasiswa-), kadang saya memutarkan La Noire de\u2026 <\/em>film penting Ousmane Sembene, sebuah film tentang pembebasan dan kecaman, \u2026 bukan karena ia adalah sutradara berkulit hitam \u2026 Bukan karena persoalan-persoalan warna kulit, atau perempuan tapi saya sedang menunjukkan SINEMA. Itu adalah aksi pembebasan. Apa itu dekolonisasi kalau bukan tentang \u2018hubungan\u2019? Kita meninggalkan yang sebelumnya, tentang penindasan dan dominasi, otoritas, dan menggantikannya dengan yang baru\u2026\u201d<\/p>\n

Sekali lagi, pertanyaan tidak mendesak tentang kerja teknologi kamera yang diskriminatif hanya sekadar pemicu, dan yang terpenting adalah penyelidikan lanjutannya yang telaten tentang kerja prisma dalam kamera terhadap persoalan paling menyebalkan di dunia: rasisme. Sebuah komponen optik transparan yang berfungsi membiaskan cahaya, dengan membelokkan jatuhnya cahaya, sekaligus membiaskan arti sebuah identitas warga dunia yang harus berjuang lebih kuat dalam sirkulasi wacana dunia. Permukaan datar prisma harus diletakkan miring agar bisa membalikkan (flipping<\/em> dan inverting<\/em>), memutar (rotating<\/em>), menyimpangkan (deviating<\/em>), dan menggantikan (displacing<\/em>) berkas cahaya. Artinya, usaha lebih harus dilakukan oleh inisiator aksi peneropong dalam menerapkan kuasanya, sejak awal. Dan usaha lebih pun harus dilakukan sekarang untuk menunjukkan siapa yang dibiaskan oleh prisma kamera.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1669190893284{margin-bottom: 0px !important;}”]\n

\u201cNorth-South relation starts there. Everything that happens in front of the camera is in the South. The camera itself is always in the North. The camera is like the compass that is pointing south. And so, you lose sight of north.\u201d Serge Daney<\/p>\n

 <\/p>\n

The line above was quoted by Patrick Leboutte, a lecturer at a campus in Belgium, on the enigma of North-South relation in relation to cinema. According to him, the sentence implies that in creating cinema, we must be willing to lose our view of the North, and always talk about the meaning of the South.<\/p>\n

And in return, some of \u201cus\u201d who are here must be willing to sit under the prism of binocular dominated by the powers of the North, as objects of observation.<\/p>\n

\u201cWhat if the ideology of the technology of seeing turns out to be racist and discriminatory?\u201d<\/p>\n

Before we answer, does this question need asking? Isn\u2019t the position of the seeing subject already discriminatory from the start?<\/p>\n

Prism<\/em>, produced by three women directors across multiple countries and skin colors, offers this initial question, while also explicates their attentive research on the problem of camera calibration on the skin color of the world\u2019s citizen other than white. This question further draws the directors, especially those from Africa, into the situation of searching for ideological meaning of the camera technology. They also become entangled in the problems of multiple layers of identity as African women: imprisoned by their culture, dominated by patrilinealism, and colonized by Western technology.<\/p>\n

The premise of discrimination can be a double-edged sword when proposed in this era, because discrimination and racism has mutated into their most sophisticated forms, infiltrating the joints of this multi-layered life; even turning the person who proposed it into a target.<\/p>\n

But at the same time, the opportunity to outsmart it is wide open. This is what makes Prism <\/em>an interesting film to examine further. The development of global discourse has obtained many witty answers from participatory methods evolving from half a century ago: breaking taboos and striving for equality.<\/p>\n

Another interesting thing about the journey of this discourse is its crossover with the industry, where industrial modes of production always managed to hack through problems that seemingly does not need to be understood singularly. As Leboutte put it in this film, \u201cI show Bamako <\/em>(to my students), sometimes I show La Noire de\u2026 <\/em>Ousmane Sembene\u2019s important film on liberation and denunciation\u2026 Not because he is a black director\u2026 Not because of issues related to skin color or women, but I was showing them CINEMA. That is an act of liberation. What is decolonization, if not about \u2018relations\u2019? We are leaving it behind, those of oppression and domination, authority, and replace it with a new one\u2026\u201d<\/p>\n

Once again, the unnecessary question on the discriminatory workings of camera technology is merely a trigger. The most important thing is its further attentive research on the inner workings of the prism and camera towards one of the world\u2019s most infuriating problem: racism. A transparent optical component that functions to refract light, by deflecting the falling light, as well as refracting the meaning of a world citizen\u2019s identity who must fight stronger in the circulation of the world\u2019s discourse. The flat surface of the prism must be positioned in an oblique angle to flip and invert, rotate, deviate, and displace the light beam. Therefore, more effort must be made by initiators of the acts of looking to exercise their power since the beginning. And even more needs to be done to reveal who is being refracted by the camera prism.[\/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=”11370″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669190995005{margin-bottom: 0px !important;}”]\n

Prism<\/i><\/b><\/h2>\n

Filmmaker <\/em>An van Dienderen, El\u00e9onore Yameogo, Rosine Mbakam
\n<\/strong>Country of Production<\/em> Belgium
\n<\/strong>Language<\/em> English<\/strong>
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

77 min, stereo, 16:9, HD, 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_1669191026802{margin-bottom: 0px !important;}”]Tiga sutradara perempuan lintas negara dan lintas warna kulit menggugat diskriminasi ideologi dari kinerja kamera dalam produksi sinema. Percakapan melalui hubungan video dalam jaringan dijadikan pemicu bagi telaah-telaah visual yang lahir di Eropa, dan melanjutkan perjalananan kinerjanya ke tanah-tanah (bekas) jajahannya.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669191038425{margin-bottom: 0px !important;}”]Three women directors across multiple countries and skin color contest the ideological discrimination of the camera\u2019s mechanism in cinema productions. Online video conversations serve to ignite the series of visual analyses born in Europe, and to continue the mechanism\u2019s journey to their (former) colonized lands.\u00a0<\/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=”11553″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669193808499{margin-bottom: 0px !important;}”]Tiga sutradara perempuan lintas negara dan lintas warna kulit menggugat diskriminasi ideologi dari kinerja kamera dalam produksi sinema. Percakapan melalui hubungan video dalam jaringan dijadikan pemicu bagi telaah-telaah visual yang lahir di Eropa, dan melanjutkan perjalananan kinerjanya ke tanah-tanah (bekas) jajahannya.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669193818293{margin-bottom: 0px !important;}”]Three women directors across multiple countries and skin color contest the ideological discrimination of the camera\u2019s mechanism in cinema productions. Online video conversations serve to ignite the series of visual analyses born in Europe, and to continue the mechanism\u2019s journey to their (former) colonized lands.\u00a0<\/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=”2862″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669194064752{margin-bottom: 0px !important;}”]Otty Widasari <\/b>(Balikpapan, 1973) adalah seorang seniman, sutradara, pegiat media, salah satu pendiri Forum Lenteng, dan Direktur Program Pemberdayaan Media Berbasis Komunitas (AKUMASSA) Forum Lenteng. Lulusan Seni Murni, Institut Kesenian Jakarta, tahun 2013.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669194027446{margin-bottom: 0px !important;}”]Otty Widasari<\/b> (Balikpapan, 1973) is an artist, filmmaker, media activist, one of the founders of Forum Lenteng, and Director of Community-Based Media Empowerment Program (AKUMASSA) at Forum Lenteng. She graduated Fine Arts at the Institut Kesenian Jakarta in 2013.<\/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 10 — ARKIPEL<\/title>\n<meta name=\"description\" content=\"Referring to the previous Catch-22 illustration about the cockpit, this curatorial invites you to question again, what if those two visual modes mess up our perception of cinema and today's conflicts? 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