{"id":11567,"date":"2022-11-24T17:42:52","date_gmt":"2022-11-24T10:42:52","guid":{"rendered":"https:\/\/arkipel.org\/?p=11567"},"modified":"2022-11-24T17:42:52","modified_gmt":"2022-11-24T10:42:52","slug":"candrawala-2022","status":"publish","type":"post","link":"https:\/\/arkipel.org\/candrawala-2022\/","title":{"rendered":"Candrawala \u2013 local landscape of now: The Juxtaposition of the Location and An Author’s Wisdom"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1669281762584{margin-bottom: 0px !important;}”]\n

The Juxtaposition of the Location and An Author’s Wisdom<\/b><\/strong>
\nLokasi yang Bersanding dengan Kebijakan Pengarang<\/em><\/h1>\n

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

Tuesday, 29 November 2022 | 19:00 | bioskopforlen
\nFriday, 2 December 2022 | 19.00 | bioskopforlen<\/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_1669281862296{margin-bottom: 0px !important;}”]Film, dalam kesejarahannya selalu terikat dengan infrastruktur pemerintah, sekolah, industri media, atau berbagai jenis \u201cinstitusi\u201d, hingga tak ada peluang untuk keluar dari mekanisme legitimasi itu. Tirani industri dan juga institusi-institusi mapan memainkan peran dominasi secara menyeluruh di dalam setiap sendi produksi film. Sebenarnya, sesuatu di luar itu, atau sebut saja ranah marjinal dalam pengertian non-industri, yaitu komunitas, hadir.\u00a0<\/span><\/span><\/p>\n

Film-film dalam kuratorial Candrawala tahun ini, secara implisit dan eksplisit, bukan hanya berdiri sendiri sebagai ekspresi kekaryaan. Mereka juga hadir untuk memperlihatkan unsur-unsur pembentuknya, tak hanya mekanisme teknologisnya melainkan juga tempat di mana mekanisme itu berpijak. Film-film ini mencoba memoderasi dialog antara otonomi tempat, atau apa yang ada di depan kamera, dan kontrol, yang ada di belakang kamera. Dialog antara kontrol urutan filmis dan lokasi menjadi “rekanan” yang intim untuk produksi ide.\u00a0<\/span><\/p>\n

Jika dalam pembacaan Candrawala tahun lalu, lanskap mewadahi semuanya, sampai membunuh kepengarangan, kini konsep lanskap makin berkembang justru dengan cara mengerucut. Lanskap di sini mengalami pembesaran (<\/span>zoomed in<\/span><\/i>) menjadi “lokasi”. Secara spesifik terjadi perincian hingga ke unit-unit pembentuk lokasi. Sebagai contoh, salah satu unit tersebut adalah bunga sedap malam. Dalam film<\/span> Sedap Malam (Agave Amica)<\/span><\/i>, bunga ziarah tersebut bersirkulasi membentuk siklus peradaban yang dijeda, bahkan dihentikan, oleh wabah Covid-19. Sedap malam menjalin interaksi antara manusia, sebagai unit pembentuk lokasi, dan alam, sebagai lokasinya, dengan montase kewajaran sebuah interaksi: para penggali kubur yang menikmati rehat makan di atas gundukan tanah kuburan. Imajinasi tentang lokasi tercipta melalui siklus dan sirkulasi objek.\u00a0<\/span><\/p>\n

Contoh lain dari unit pembentuk lokasi adalah batu dan pasir. Film<\/span> Pasir yang Terbawa Arus dan Menyelinap di Sela Jemari<\/span><\/i> menekankan intervensi sutradara terhadap lokasi alamiah dengan membuka film menggunakan dinamika objek statis yang dinamis: batu dan pasir yang dimanipulasi oleh kerja sinematografis. Dalam narasi, batu dan pasir dihidupkan dengan kata ganti aku, yang memiliki sejarah sirkulasi geologis, dari erupsi gunung berapi, sampai ke takdir yang ditentukan oleh campur tangan manusia dan mesin. Lokasi dipahami sebagai proses yang terus membentuk diri.\u00a0<\/span><\/p>\n

Sebuah gedung bioskop tua sebagai unit lokasi kembali dipersonifikasi dalam film <\/span>What Eri Testifies at the End of the Roll.<\/span><\/i> Gedung ini memang memiliki personae bernama Feri, di masa Orde Lama, dan menjadi Eri, di masa Orde Baru hingga sekarang. Lokasi dalam film ini dikurung dalam bangunan sejarah sinema, hingga dalam beberapa adegan, lokasi dibiarkan menceritakan tentang dirinya sendiri. Cerita itu melintasi beberapa rezim\u2013politik dan sinema\u2013bahkan sampai terjungkal di masa sekarang lewat proyeksi adegan film yang terbalik.\u00a0<\/span><\/p>\n

Dalam<\/span> film<\/span> Nisan Tak Terukir<\/span><\/i>, batu nisan menjadi penghubung manusia di lokasi kini dengan sejarah masa lalu bromocorah. Residu bromocorah “sekarang” tergambar lebih berinteraksi dengan lokasi alam\u2013sawah atau kebun, bahkan kuburan\u2013\u2013 dari pada dengan manusia lainnya. Interaksi unit lokasi dengan lokasinya bersifat langsung. Sinema hanya menunjukkan manifestasinya. Kembali, peran batu nisan sebatas ikon dari kematian, dan yang mati tidak bisa menunjukkan dirinya, butuh klaim dari yang hidup.\u00a0<\/span><\/p>\n

Dalam film<\/span> YK48<\/span><\/i>, lokasi keluar dari agregat penentuan konsepnya, bergantung pada pancaran antusiasme terhadap semua peristiwa yang ada di atas lokasi tersebut. Imajinasi lokasi (Kota Yogyakarta) kemudian melebur bersama pertemuan budaya sinema antar komunitas pasca-Reformasi. Pertemuan tersebut memunculkan imajinasi lokasi yang dibentuk oleh keagensian tanding terhadap pusat (ibukota). Lokasi dapat berbicara di luar kemampuan pengarangnya sendiri. Lokasi menampakkan keagensiannya sendiri.\u00a0\u00a0<\/span><\/p>\n

Hampir seperempat abad Reformasi, geliat komunitas berkelit dari sensor, yang sedari rezim sebelumnya menghantui sinema Indonesia, pun menghancurkan legitimasi tunggal-institusional. Estetika film indonesia dalam seperempat abad Reformasi dibangun bukan sepenuhnya oleh semangat modern yang selalu menggunakan sarana ekspresi individual. Estetika film Indonesia hadir oleh keagensian komunal yang berdialog dengan tempat berpijaknya, karena semangat komunal sesungguhnya adalah DNA<\/i> masyarakat tropis. Individu-individu tropis selalu kembali ke lokasi, sedangkan lokasi yang bersifat otonom-relatif mampu bersanding dengan kejeniusan pengarangnya, menciptakan lanskap sosial-budaya.<\/span><\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1669282213618{margin-bottom: 0px !important;}”]Film, in its historicity, has always been tied to government infrastructure, schools, the media industry, or various types of “institutions”, so there is no chance of getting out of this legitimacy mechanism. Industrial tyranny as well as established institutions play a dominating role throughout every aspect of film production. But something else is present beyond that; let’s call it a marginal realm in the non-industrial sense\u2014the collective.<\/span><\/em><\/p>\n

The films in this year\u2019s Candrawala curatorial, implicitly and explicitly, don’t just stand alone as an expression of art. They are also here to show their constituent elements, not only the technological mechanism but also where the mechanism stands. These films attempt to moderate the dialogue between location autonomy, or what is in front of the camera; and control, which exists behind the camera. The dialogue between sequence control in the film and location becomes an intimate “partner” for the production of ideas.<\/em><\/p>\n

If in Candrawala’s reading last year, landscape embodies everything, to the point of killing authorship, now the concept of landscape is growing in a conical way. The landscape here is zoomed in to “location”. Specifically, there is a detailing down to the location forming units. For example, one such unit is a flower. In Sedap Malam (Agave Amica),<\/span> these pilgrimage flowers circulate to form a cycle of civilization that is paused, even stopped, by the Covid-19 outbreak. Sedap Malam establishes an interaction between humans, as a site-forming unit, and nature, as its location, with a montage of a usual interaction: gravediggers enjoying a meal break on a burial mound. The imagination of the location is created through the cycle and circulation of objects.<\/span><\/em><\/p>\n

Another example of a site forming unit is rock and sand. <\/span>Pasir yang Terbawa Arus dan Menyelinap di Sela Jemari<\/span> emphasizes the director’s intervention in natural locations by opening the film using dynamic static objects: rocks and sand manipulated by cinematographic work. In the narrative, rock and sand are brought to life by the pronoun \u2018I\u2019, which has a history of geological circulation, from volcanic eruptions, to fates determined by the intervention of humans and machines. Location is understood as a process that continues to shape itself.<\/span><\/em><\/p>\n

An old cinema building as a location unit is re-personified in the film What Eri Testifies at the End of the Roll.<\/span> This building does have a personae called Feri, during the Old Order era, and became Eri, during the New Order era until now. The locations in this film are captivated in the building of cinema history, so that in several scenes, the locations are allowed to tell about themselves. The story crosses several regimes\u2013politics and cinema\u2013even to the point of being inverted in the present through the upside down projection of film scenes.<\/span><\/em><\/p>\n

In Nisan Tak Terukir<\/span>, tombstones become a link between humans in the present location and a <\/span>bromocorah<\/span>‘s (outlaw) past history. The \u201ccurrent\u201d residue of the bromocorah is depicted in more interactions with natural locations\u2014rice fields or gardens, even cemeteries\u2013\u2013 rather than with other humans. The unit location interacts with its location directly. Cinema only reveals its manifestation. Again, the role of a tombstone is limited to an icon of the dead, and the dead cannot present themselves, they need a claim from the living.<\/span><\/em><\/p>\n

In YK48<\/span>, the location escapes the aggregate which determined its concept, depending on the radiance of enthusiasm for all the events on that location. The imagination of a location (Yogyakarta City) merges together with the encounter of post-Reformation inter-collective cinema culture. The meeting gave rise to the imagination of the location formed by the counter agency against the center (the capital city). Locations can speak beyond the power of the author himself. The location reveals its own agency.<\/span><\/em><\/p>\n

Almost a quarter of the Reformation century, the movement of the collective was ridden by censorship, which had haunted Indonesian cinema since the previous regime, and destroyed single-institutional legitimacy. The aesthetics of Indonesian film in the quarter century of Reformasi was not built entirely by the modern spirit which always used individual means of expression. The aesthetics of Indonesian film comes from a communal agency that converses with where they stand, because the communal spirit is actually the DNA of tropical society. Tropical individuals always come back to their locations, while locations that are autonomous-relative are able to stand side by side with the genius of their authors, creating socio-cultural landscapes.<\/em>[\/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=”1637819978801-76f85e64-390b”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11569″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669282356880{margin-bottom: 0px !important;}”]\n

What Eri Testifies at the End of the Roll<\/strong><\/h2>\n

Filmmaker <\/em>Muhaimin Nurrizqy<\/strong>
\n<\/span>International Title<\/em> –
\n<\/strong>Country of Production<\/em>\u00a0 Indonesia
\n<\/strong>Language<\/em> Minang
\n<\/strong>Subtitle<\/em> English<\/p>\n

29 min, stereo, HD, 16:9, color, 2021
\n<\/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_1669282725286{margin-bottom: 0px !important;}”]Filem ini memperlihatkan tempat yang spesifik, sebuah bioskop, dengan cara mempersonifikasinya lewat permainan nama dan memperlihatkan suasana di sekitarnya. Tempat tersebut berada dalam berbagai lintasan waktu, di dalam periode rezim tertentu. Sebagai tempat, ia adalah benda mati, tapi seolah-olah menjadi figur antromorfik karena diidentifikasi lewat kisah-kisah dan peristiwa di sekitarnya.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669282748398{margin-bottom: 0px !important;}”]This film shows a specific place, a cinema, by personifying it through a name game and showing the atmosphere around it. This place exists in various timelines, within certain regime periods. As a place, it is an inanimate object, but it comes alive as an anthropomorphic figure because it is identified through the stories and events around it.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637503076686-c189603b-0340″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11570″ add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669282795573{margin-bottom: 0px !important;}”]Muhaimin Nurrizqy<\/strong><\/em> adalah seorang pembuat film, penulis, dan peneliti partikelir dari Sumatra Barat. Lahir di Padang, 12 Oktober 1995. Pada tahun 2020 ia meraih gelar sarjana dari jurusan Sastra Indonesia di Universitas Andalas. Aktif berkesenian sejak 2014. Ia pernah meraih juara pertama dalam Lomba Kritik Film Pusbang 2017. Menjadi kurator film di AFE 2017, juri film di Affest 2018 dan juri film pelajar di Survifal 2018. Kurator film daerah dalam pemutaran JAFF Kinetic 2020 di Padang. “Sandiwara 700 Tahun Sebelum Masehi” adalah buku kumpulan cerita pertamanya. Tulisannya tentang seni maupun budaya tersebar di pelbagai media cetak dan daring. Sekarang ia sedang melakukan riset tentang perkembangan perfilman di Sumatera Barat.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669282830467{margin-bottom: 0px !important;}”]Muhaimin Nurrizqy<\/strong> <\/em>is an independent filmmaker, writer and researcher from West Sumatra. Born in Padang, October 12 1995. In 2020 he earned a bachelor’s degree in Indonesian Literature at Andalas University. He has been active in the arts since 2014. He won first place in the 2017 Pusbang Film Criticism Competition. He became a film curator at AFE 2017, a film judge at Affest 2018 and a student film judge at Survifal 2018. Curator of regional films at the JAFF Kinetic 2020 screening in Padang. “Sandiwara 700 Tahun Sebelum Masehi” (A Play from 700 BC) is his first short story antology. His writings on art and culture are spread across various print and online media. Currently, he is doing research on the development of film in West Sumatra.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637819987068-28310080-e730″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11571″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669283313515{margin-bottom: 0px !important;}”]\n

Sedap Malam<\/b><\/h2>\n

Filmmaker <\/em>Gembong Nusantara<\/strong>
\n<\/span>International Title<\/em> Agave Amica<\/b>
\n<\/strong>Country of Production<\/em>\u00a0 Indonesia
\n<\/strong>Language<\/em> Sundanese, Javanese
\n<\/strong>Subtitle<\/em>\u00a0 English<\/strong><\/p>\n

14 min, stereo, digital, 1.85:1, color, 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_1669283394398{margin-bottom: 0px !important;}”]Sebuah karya film puitis, menggunakan strategi artistik yang melacak sirkulasi objek “bunga sedap malam”. Sedap malam menjalar ke berbagai tempat di mana ia bertransaksi dan juga membentuk imajinasi peristiwa lewat perputaran dan sirkulasinya.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669283413519{margin-bottom: 0px !important;}”]A poetic film implementing an artistic strategy to trace the circulation of tuberose flowers as an object. The tuberose flowers spread to various places, becoming a part of transactions and shaping imagination of events through its rotation and circulation. <\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637819987270-0dee722b-23b3″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11572″ add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669283496693{margin-bottom: 0px !important;}”]Gembong Nusantara<\/strong><\/em> menerima pendidikan di Danish School of Media and Journalism, Denmark; dan Diploma of Photojournalism Ateneo de Manila, Philippines. Sebagai jurnalis visual, ia direpresentasikan oleh Agentur Focus Germany, dan pernah bekerja dengan Al Jazeera, SEA Globe, TIME, Washington Post, Internazionale, Roads and Kingdoms CNN, USAID, International Republican Institute, World Animal Protection, International Monetary Fund, Society Magazine, Global Citizen, The Bureau of Investigative Journalism, dan lain-lain. Agave Amica adalah debutnya sebagai penulis dan sutradara. <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669283535247{margin-bottom: 0px !important;}”]Gembong Nusantara<\/strong><\/em> attended Danish School of Media and Journalism, Denmark and Diploma of Photojournalism Ateneo de Manila, Philippines. As a visual journalist, he is represented by Agentur Focus Germany and has been commissioned by Al Jazeera, SEA Globe, TIME, Washington Post, Internazionale, Roads and Kingdoms CNN, USAID, International Republican Institute, World Animal Protection, International Monetary Fund, Society Magazine, Global Citizen, The Bureau of Investigative Journalism, and others. Agave Amica is his debut as a writer and director.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637820003140-03da7b0f-cb11″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11573″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669283667484{margin-bottom: 0px !important;}”]\n

Nisan Tak Terukir<\/b><\/h2>\n

Filmmaker <\/em>Abdul Ghaniy Rosyidin<\/strong>
\n<\/span>International Title<\/em> The Unengraved Tombstone<\/b>
\n<\/strong>Country of Production<\/em>\u00a0 Indonesia
\n<\/strong>Language<\/em> Indonesian, Madurese, Javanese
\n<\/strong>Subtitle<\/em>\u00a0 English<\/strong><\/p>\n

60 min, stereo, HD, 16:9, color, 2022
\n<\/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_1669283820311{margin-bottom: 0px !important;}”]Film ini tak hanya melakukan pelacakan tapi juga mengajak penonton mendekati subjeknya lewat penampilan dan keterhubungan antara orang-orang dengan peristiwa masa lalu yang telah dialaminya. Mereka mencoba untuk mengingat kembali lewat serpihan-serpihan atau kilatan informasi yang muncul secara spontan, tercipta lewat kesan dari gambar. Gambar-gambar tersebut dijajarkan dengan nisan, benda-benda yang mengelilinginya sebagai suatu bagian atau jejak-jejak, tanda.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669283839695{margin-bottom: 0px !important;}”]This film doesn\u2019t only enact a tracing, but also invites the audience in a close proximity with the subject through appearances of their past connection with other people and events they have experienced. They try to remember through fragments or flashes of information that appear spontaneously, created through impressions from images. The images are juxtaposed with the tombstone, and the objects surrounding it as a part of it, traces, signs.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637820003807-63f7df6f-f943″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11574″ add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669283902744{margin-bottom: 0px !important;}”]Abdul Ghaniy Rosyidin<\/strong><\/em> lahir di Banyuwangi, 15 Oktober 1997 merupakan mahasiswa S1 Televisi dan Film Universitas Jember. Dia merupakan individu yang memiliki minat di bidang kreatif terutama audio visual. Beberapa film pendek pernah ia garap sebagai sutradara meliputi Jarkoni (2020), Sinyal (2020), dan Cerita Ini Tentang Perjalanan (2022), dan terbaru film dokumenter Nisan Tak Terukir (2022). Dia merupakan pribadi yang aktif di organisasi Himpunan jurusan (HIMAFISI). Dia telah menjabat dua kali kepengurusan pada tahun 2019 dan 2020.\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669283969551{margin-bottom: 0px !important;}”]Abdul Ghaniy Rosyidin <\/strong><\/em> was born in Banyuwangi, October 15, 1997 and is an undergraduate student studying Television and Film at Universitas Jember. He is interested in the creative field, especially audio-visual. He has worked on several short films as a director including Jarkoni (2020), Sinyal (2020), and Cerita Ini Tentang Perjalanan (2022), and most recently the documentary film Nisan Tak Terukir (2022). He is active in his campus department organization, HIMAFISI, being a part of their committee in 2019 and 2020.
\n<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637819999930-a4b43057-43ac”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11575″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669284256861{margin-bottom: 0px !important;}”]\n

Pasir yang Terbawa Arus dan Menyelinap di Sela Jemari
\n<\/b><\/h2>\n

Filmmaker <\/em>Dito Yuwono<\/strong>
\n<\/span>International Title<\/em> Sand Run through Your Hand, Flows with the Water<\/b>
\n<\/strong>Country of Production<\/em>\u00a0 Indonesia
\n<\/strong>Language<\/em> Indonesian
\n<\/strong>Subtitle<\/em>\u00a0 English<\/strong><\/p>\n

9 min, stereo, HD, 16:9, color, 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_1669284305421{margin-bottom: 0px !important;}”]Sinema terkenal dengan kekuatan geraknya, dan film ini menempatkan kekuatan gerak pada sebuah permainan gambar yang ambigu, lewat apa yang terkandung di dalamnya. Begitupun suara narator yang memiliki otoritas lebih yang seolah-olah mentransfer dirinya ke depan layar, kemudian ia menjadi benda, seolah-olah narator hidup padanya. Film dengan ketidakberbedaan atau kompleksitasnya muncul secara simultan dalam ragam hal-hal yang berbunyi, bergerak, dan bertindak. Itu semua diletakkan pada “benda” ini, menimbulkan ambiguitas definisi hidup melaluinya. Singkatnya, film ini memainkan persepsi-otomatis kita.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669284321300{margin-bottom: 0px !important;}”]Cinema is known for its power of movement, and this film places it in an ambiguous game of images, through what is contained in it. Likewise the voice of the narrator who has more authority seems to transfer himself to the front of the screen, then he becomes an object, as if the narrator lives in it. Film with its indifference or complexity appears simultaneously in a variety of things that sound, move, and act. It’s all put into this “thing”, giving rise to the ambiguity of the definition of life through it. In short, this film plays on our automatic perceptions.
\n<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637820000512-9df57bb6-3365″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11576″ add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669284763644{margin-bottom: 0px !important;}”]Dito Yuwono <\/strong><\/em> (b.1985) bekerja sebagai seniman-kurator rupa di Yogyakarta \u2013 Indonesia. Dalam praktiknya, ia menggunakan bentuk penceritaan dengan pendekatan pribadi untuk secara halus menangkap gambaran yang lebih besar dari lingkungan sosial-politik, dan karyanya sering membahas masalah sosial melalui produksi karya spesifik lokasi, proyek intervensi, video, fotografi, dan instalasi audio-visual. Karyanya telah dipamerkan antara lain di Herbert F. Johnson Museum of Art \u2013 Amerika Serikat, Jimei X Arles International Photo Festival 2017, Cemeti Institute for Art and Society \u2013 Indonesia, ISCP New York \u2013 Amerika Serikat.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669284798579{margin-bottom: 0px !important;}”]Dito Yuwono<\/strong><\/em> (b.1985) works as a visual artist-curator in Yogyakarta \u2013 Indonesia. In his practice, he uses a form of storytelling using a personal approach to subtly grasp the bigger picture of the socio-political environment, and his work often addresses social issues through the production of site-specific work, interventional project, video, photography, and audio-visual installation. His work has been exhibited in Herbert F. Johnson Museum of Art \u2013 United States, Jimei X Arles International Photo Festival 2017, Cemeti Institute for Art and Society \u2013 Indonesia, ISCP New York \u2013 United States, among others.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1669284832909-d515b7e8-ad73″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11579″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669285061301{margin-bottom: 0px !important;}”]\n

YK48<\/b><\/h2>\n

Filmmaker <\/em>Riezky Andhika Pradana (Kiki Pea)<\/strong>
\n<\/span>International Title<\/em> –<\/b>
\n<\/strong>Country of Production<\/em>\u00a0 Indonesia
\n<\/strong>Language<\/em> Indonesian
\n<\/strong>Subtitle<\/em>\u00a0 English<\/strong><\/p>\n

47 min, stereo, HD, 16:9, color, 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_1669285083369{margin-bottom: 0px !important;}”]Filem ini melacak kondisi, sejarah serta skena perfileman Jogja lewat berbagai lingkup dari peristiwa sejarah yang menaunginya. Filem ini juga menangkap situasi sosial di kota tersebut sekaligus orang-orang yang ada dan hidup di dalamnya, yang terlibat dalam bentuk kelompok-kelompok, penyelenggaraan acara, hingga diskusi yang turut mengambil peran dalam pembentukan perfileman Jogja.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669285122712{margin-bottom: 0px !important;}”]This film traces the condition, history and scene of Jogja filmmaking through the various scopes of the historical events that surround it. This film also captures the social situation in the city as well as the people who exist and live in it, who are involved in the form of groups, organizing events, to discussions that also take part in the formation of Jogja cinema.
\n<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1669284833273-58c8b443-e9a4″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11578″ add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669285238880{margin-bottom: 0px !important;}”]Riezky Andhika Pradana (Kiki Pea)<\/strong><\/em> lahir di Jakarta, tahun 1982. Setelah lulus dari Jurusan Jurnalistik Institut Ilmu Sosial Politik Jakarta, ia bekerja di berbagai bidang; peneliti, jurnalis, produser, sutradara, komikus, dan penyiar radio. Ia aktif bermusik bersama grup Rockabilly, Kiki & The Klan, dan band rock bernama Roket. Mulai 2005 aktif berkarya dan bekerja bersama Forum Lenteng. Film fiksi pertamanya (dan terakhir) berjudul \u2018Balada Hari Raya\u2019 (A Goat Before the Dawn) pernah diputar di Kineforum Jakarta, 2008.. Sepanjang 2007 \u2013 2010, Ia menjadi pimpinan redaksi akumassa.org. Salah satu film hasil program ini \u2018Dongeng Rangkas\u2019 meraih piala Kategori Film Panjang pada Festival Film Dokumenter 2011. <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669286058543{margin-bottom: 0px !important;}”]Riezky Andhika Pradana (Kiki Pea)<\/strong><\/em> (b.1985) was born in Jakarta, 1982. After graduating from the Journalism Department of the Jakarta Institute of Social and Political Sciences, he worked in various fields; researcher, journalist, producer, director, comic artist, and radio broadcaster. He is active in music with the group Rockabilly, Kiki & The Klan, and a rock band called Rocket. Since 2005, he has been actively creating and working with Forum Lenteng. His first (and last) fictional film entitled ‘Balada Hari Raya’ (A Goat Before the Dawn) was screened at Kineforum Jakarta, 2008. During 2007 \u2013 2010, he was the chief editor of akumassa.org. One of the films produced by this program, \u201cDongeng Rangkas\u201d, won the Feature Film Category award at the 2011 Festival Film Dokumenter.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner][\/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=”11580″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669286174041{margin-bottom: 0px !important;}”]I Gde Mika <\/strong> <\/em>(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_1669286241947{margin-bottom: 0px !important;}”]I Gde Mika<\/strong><\/em> (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 Kelana Citra Jakarta (2021) dan Segudang Wajah Para Penantang Masa Depan (The Myriad of Faces of the Future Challengers, 2022).<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

In the discourse of ethnographic film, representing the subjects living in the periphery will bring forth the experimentation of cinema aesthetics. The experimentation is in parallel with the paradigm shifts in social science and ethics that follow it. The aesthetic explorations, which range from a dramatic construction with the romantic style of Flaherty up to how to perceive anthropological facts with the style of Sensory Ethnography Lab films, contribute to the discourse on the development of this genre. The latest tendency of this cinema is indeed observational and participatory. But these observation and participation bear their own problems.In representing peripheral subjects, especially those who are far or less exposed to media technology, there is a temptation to treat them as a “discovery\u201d. <\/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":"Candrawala \u2013 local landscape of now: The Juxtaposition of the Location and An Author's Wisdom","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[551,347],"tags":[619,303,620],"class_list":["post-11567","post","type-post","status-publish","format-standard","hentry","category-arkipel-2021-twilight-zone","category-candrawala-program","tag-619","tag-candrawala","tag-catch22"],"jetpack_publicize_connections":[],"yoast_head":"\nCandrawala \u2013 local landscape of now: The Juxtaposition of the Location and An Author's Wisdom — ARKIPEL<\/title>\n<meta name=\"description\" content=\"The films in this year\u2019s Candrawala curatorial attempt to moderate the dialogue between location autonomy, or what is in front of the camera; and control, which exists behind the camera. 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