{"id":11538,"date":"2022-11-23T10:06:42","date_gmt":"2022-11-23T03:06:42","guid":{"rendered":"https:\/\/arkipel.org\/?p=11538"},"modified":"2022-11-23T10:06:42","modified_gmt":"2022-11-23T03:06:42","slug":"catch-22-spesial-screening-4-2","status":"publish","type":"post","link":"https:\/\/arkipel.org\/catch-22-spesial-screening-4-2\/","title":{"rendered":"Catch 22 – Special Screening"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1669171582030{margin-bottom: 0px !important;}”]\n

Para Penantang Pemaku Makna
\n<\/strong>Challenging the Established Meaning<\/strong><\/em><\/span><\/h1>\n

\u00a0<\/strong><\/h1>\n

Host<\/em> Adi Osman<\/strong><\/p>\n

Senin, 30 Nov 2022 \u2013 19:00<\/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_1669171404655{margin-bottom: 0px !important;}”]Salah satu semangat penting dalam mempelajari sejarah bukanlah untuk mengilapkan kejayaan masa lalu, melainkan melacak bagaimana kultur hari ini terbentuk. Sejarah tidak bisa diletakkan pada satu dimensi atau suatu masa tertentu, namun ia selalu terkait dengan konteks dan memiliki dimensi konsekuensi ke masa depan. Terkadang apa yang ada hari ini dianggap ahistoris atau sangat susah ditelusuri akarnya, seakan-akan ia ada dengan sendirinya. Pada kondisi inilah memori kolektif, mitos, dan fiksi menyisip. Mereka bisa memberi landasan bagi orang-orang untuk melegitimasi narasi dan kepentingannya. Di sisi lain, akademisi dan sejarawan berusaha memberikan rasionalisasi-rasionalisasi dengan caranya sendiri. Yang jelas keduanya sama-sama sedang membangun makna demi kepentingan tertentu.<\/p>\n

Segudang Wajah Para Penantang Masa Depan<\/em> (2022) merupakan usaha melacak historisitas kultur filem di Indonesia hari ini, yang bekerja layaknya akademisi dengan mengutilisasi fiksi. Dengan meletakkan filem-filem yang diproduksi pada masa Orde Baru sebagai korpusnya, filem ini memakai potongan-potongan filem tersebut untuk membongkar makna yang selama ini diterima melalui filem-filem tersebut. Sebagaimana suatu kekuasaan mengamalkan kuasanya melalui aparatus makna, Segudang Wajah Para Penantang Masa Depan<\/em> justru hadir memberikan argumentasi dan ruang baru bagi potongan-potongan tersebut untuk diimajinasikan kembali sebagai makna baru.<\/p>\n

Segudang Wajah Para Penantang Masa Depan<\/em> tidak bergegas untuk membangun makna baru dan memakunya. Ia menciptakan penundaan terlebih dahulu, sehingga memberikan ruang bagi penonton untuk mengolah dan mengimajinasikan secara personal potongan-potongan filem masa Orde Baru. Selanjutnya, sebagaimana kertas kerja akademisi, argumentasi dalam filem ini dibangun atas pendadaran bukti-bukti secara eksplisit, mengelaborasinya dengan referensi tertentu, dan menarik abstraksi-abstraksi sebagai argumentasi. Potongan-potongan filem masa Orde Baru didadar dan dijadikan bukti sebagai titik berangkat argumentasi Segudang Wajah Para Penantang Masa Depan<\/em>. Melalui argumentasi tersebut, suatu makna kemudian dipakukan dengan mantap.<\/p>\n

Selain itu, Segudang Wajah Para Penantang Masa Depan<\/em> juga membangun argumentasinya secara puitik. Potongan-potongan yang dijadikan material mentah argumentasi tidak lagi secara eksplisit terhubung dengan narasi. Kepingan-kepingan dihadirkan lebih metaforis, terkadang jauh dari apa yang sedang dibicarakan. Sehingga ada ruang bagi penonton untuk mengolah potongan tersebut secara personal, bukan didikte oleh narator dan visual yang eksplisit. Abstraksi yang menjadi tumpuan argumentasi tidak lagi dikuasai oleh narator, tetapi oleh penonton. Dengan menunda pemakuan makna, sebagaimana dalam metode sebelumnya, pengalaman dan konstruksi makna menjadi lebih desentral.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1669171610582{margin-bottom: 0px !important;}”]One of the important drives in studying history is not to gloss over past victories, but to trace how today\u2019s culture is shaped. History can\u2019t be placed in one dimension or at a particular time, but it is always context-dependent and has a dimension of consequence into the future. Sometimes what exists today is considered ahistorical or very difficult to trace its roots, as if existing by itself. It is in this condition that collective memory, myth, and fiction converge. They can provide grounds for people to legitimize their narratives and interests. On the other hand, academics and historians try to provide rationalizations with their respective methods. Clearly, both are building meanings for the sake of certain interests.<\/p>\n

Segudang Wajah Para Penantang Masa Depan<\/em> (2022) is an attempt to trace the historicity of film culture in Indonesia today, working like an academic by utilizing fiction. By locating films produced during the New Order era as its corpus, this film uses these film cuts to unearth the meaning that has been widely understood through these films. Like how power structure exercises its power through an apparatus of meaning, Segudang Wajah Para Penantang Masa Depan<\/em> is present to provide new arguments and space for these cuts to be re-imagined as new meanings.<\/p>\n

Segudang Wajah Para Penantang Masa Depan<\/em> doesn\u2019t rush to build new meanings and nail them down. It creates a delay beforehand, thus gives a space for the audience to personally process and imagine the New Order-era film cuts. Furthermore, like academic papers, the arguments in this film are based on obtaining explicit evidence, elaborating it with certain references, and drawing abstractions as arguments. Scraps of films from the New Order era were presented and used as evidence as a starting point for the arguments of Segudang Wajah Para Penantang Masa Depan<\/em>. Through this argumentation, a meaning is then firmly nailed.<\/p>\n

Besides, Segudang Wajah Para Penantang Masa Depan<\/em> also builds their argumentation in a poetic manner. The cuts which are used as a raw material for argumentation are not explicitly connected to the narrative anymore. The cuts are presented more metaphorically, sometimes far from what is being talked about. So that there is a space for the audience to personally process it, instead of being dictated by the narrator and explicit visuals. The abstraction on which the argument is based, is no longer controlled by the narrator, but by the audience. By delaying the nailing down of meaning, as in the previous method, the experience and construction of meaning become more decentralized.[\/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=”11539″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669171808480{margin-bottom: 0px !important;}”]Segudang Wajah Para Penantang Masa Depan\u00a0<\/b><\/p>\n

International Title <\/em>The Myriad of Faces of the Future Challengers<\/b>
\nFilmmaker<\/em> I Gde Mika, Yuki Aditya
\n<\/strong><\/span>Country of production<\/span><\/i> Indonesia<\/strong>
\n<\/span>Language<\/span><\/i> Indonesian<\/strong>
\n<\/span>Subtitles<\/span><\/i> English<\/strong><\/p>\n

91 min, stereo, 16:9, HD, color & 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_1669145955046{margin-bottom: 0px !important;}”]Personne<\/span><\/i> \u2013 ialah seseorang dan bukan siapa-siapa dan siapa saja. Itulah kita dalam perjalanan waktu. Terus-menerus, sia-sia. Diri adalah kebutuhan akan penegasan secara permanen.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669145978118{margin-bottom: 0px !important;}”]Personne \u2013 that is somebody and nobody and anyone. That is us in the course of time. Persistently, in vain. The self is the need for permanent self-assertion.<\/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=”11540″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669172228015{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_1669172717347{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_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_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669172792202{margin-bottom: 0px !important;}”]Adi Osman<\/strong>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][\/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":[621,620,280],"jetpack_publicize_connections":[],"yoast_head":"\nCatch 22 - Special Screening — 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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