{"id":11706,"date":"2022-12-06T02:45:57","date_gmt":"2022-12-05T19:45:57","guid":{"rendered":"https:\/\/arkipel.org\/?p=11706"},"modified":"2022-12-06T02:45:57","modified_gmt":"2022-12-05T19:45:57","slug":"special-screening-reflecting-film-history-through-archives","status":"publish","type":"post","link":"https:\/\/arkipel.org\/special-screening-reflecting-film-history-through-archives\/","title":{"rendered":"Special Screening: Reflecting Film History Through Archives"},"content":{"rendered":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1670268775769-e05ece63-91ed”][vc_column_text title=”Special Screening: Sejarah Filem yang Direfleksikan Melalui Arsip” css=”.vc_custom_1670268852234{margin-bottom: 0px !important;}”]Penayangan Special Screening: <\/span>Para Penantang Pemaku Makna<\/span><\/i> yang dikuratori oleh <\/span>Adi Osman<\/b> telah tayang pada Rabu, 30 September 2022 di bioskop forlen. ARKIPEL Catch-22 – <\/span>9<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival<\/span><\/i> telah berlangsung selama enam hari. Program yang dikuratori oleh Adi Osman ini menayangkan sebuah filem berjudul <\/span>Segudang Wajah Para Penantang Masa Depan<\/span><\/i> (2022). Proyek ini merupakan bagian dari Forum Lenteng yang dikerjakan secara kolektif, dan direalisasikan oleh <\/span>I Gde Mika<\/b> dan <\/span>Yuki Aditya. <\/b>Acara dimulai pada pukul 19:00 dan dihadiri sekitar 17 orang.<\/span><\/p>\n

Filem <\/span>Segudang Wajah Para Penantang Masa Depan<\/span><\/i> (2022) menampilkan potongan-potongan filem di masa orde baru, dengan upaya memulihkan ingatan kita tentang persoalan seputar sinema di Indonesia. Filem dibuka dengan bacaan narasi dan visual yang puitis. Menariknya, filem ini secara semiotik mengaitkan kita dengan kegiatan sehari-hari, seperti menjemur pakaian di ruangan terbuka atau tertutup, seorang anak yang dilarang melawan ayahnya, dan kita yang sering melihat ke atas saat berada di kota metropolitan.\u00a0<\/span><\/p>\n

Filem ini menampilkan sisi gelap kota Jakarta, seperti polisi-polisi yang selalu muncul ketika konflik hadir di tengah-tengah masyarakat, dan pembangunan kota Jakarta saat pergantian rezim yang disaksikan dari atas gedung. Filem ini juga memberi sisi dimensi politik dan sosial yang diputar kembali melalui arsip filem-filem Indonesia Orde Baru. Saya merasa argumentasi yang dihadirkan memiliki bukti yang kuat. Sebenarnya ini bukan pertama kali saya menonton filem ini, akan tetapi saat menonton ulang, filem ini meyakinkan saya sebagai mahasiswa film untuk berupaya melihat sinema di Indonesia lebih dalam.<\/span><\/p>\n

Setelah penayangan filem berakhir, segmen tanya jawab langsung dibawakan oleh Adi Osman dengan berdiskusi bersama Yuki Aditya dan I Gde Mika. Dalam diskusi ini, I Gde Mika berbagi pengalaman dalam proses pembuatan filem, kemudian dia mengatakan \u201ckita mengidentifikasi dan mencatat ulang adegan yang signifikan membahas persoalan yang spesifik.\u201d Tak berhenti disitu, dia bercerita tentang kawan-kawan di Milisifilem, mereka menonton bersama setiap minggu di bioskopforlen, dan program Senin Sinema Dunia, sebuah penayangan rutin yang berupaya melacak ulang sinema dari Lumiere sampai periode 1980.\u00a0 Salah satu penonton bertanya perihal referensi yang menjadi kerangka berpikir para pembuat filem. Yuki Aditya menyebut filem yang berjudul <\/span>Red Hollywood <\/span><\/i>(1996) karya Thom Anderson yang juga berbicara tentang sensor filem-filem Hollywood, tetapi yang paling penting baginya adalah cara dia melihat konteks dalam filem, dan memetakan ulang persoalan yang ada di setiap dekade.<\/span><\/p>\n

Salah satu penonton juga berbagi impresinya, tentang pengalaman menonton yang baru dan sudut pandang baru dari hal yang paling sederhana sampai membuka pengetahuan yang baru buatnya. Di ujung acara <\/span>Hafiz Rancajale, <\/b>ketua Forum Lenteng,<\/span> ikut berkomentar tentang ketertarikannya saat menonton filem ini dan menuturkan sebuah perkembangan filem di Indonesia. Dia juga mengatakan bahwa mahasiswa, kritikus, dan pembuat filem \u201champir tidak ada\u201d yang mencoba mendadar atau mengkritisi secara estetika dan praktik di filem Indonesia. Sejarah filem Indonesia didominasi oleh rezim yang konstruktif, tetapi ironisnya kita tidak mencoba mengkritik hal tersebut. Pembahasan terakhir mulai menarik, ketika sebenarnya kita tidak mengenali para pembuat filem di Indonesia di era Orde Baru yang mungkin sekarang menjadi mitos ketika namanya terpasang di setiap nama jalan, karena hampir tidak ada orang yang membahas secara dalam estetika dan praktik mereka.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1670268775774-fbffb3a2-fc25″][vc_column_text title=”Special Screening: Reflecting Film History Through Archives” css=”.vc_custom_1670268912070{margin-bottom: 0px !important;}”]Special Screening: <\/span>Challenging the Established Meaning <\/span><\/i>curated by <\/span>Adi Osman<\/b> was screened on Wednesday, 30 November 2022 at bioskopforlen. ARKIPEL Catch-22 – <\/span>9th Jakarta International Documentary and Experimental Film Festival <\/span><\/i>has been going on for six days. The program showed a film titled <\/span>The Myriad Faces of the Future Challengers <\/span><\/i>(2022). This project is part of Forum Lenteng which was worked on collectively and realized by<\/span> I<\/b> Gde Mika <\/b>and <\/span>Yuki Aditya. <\/b>The event started at 19:00 and was attended by around 17 people.<\/span><\/p>\n

The Myriad Faces of the Future Challengers <\/span><\/i>(2022) presents clips of films from the New Order era, with an attempt to restore our memories of issues surrounding cinema in Indonesia. The film opens with a poetic narrative and visual readings. Interestingly, this film semiotically relates us to daily activities, such as drying clothes in an open or closed room, a child who is forbidden to fight his father, and us who often look up when we are in a metropolitan city.<\/span><\/p>\n

This film shows the dark side of Jakarta, such as the police who always appear when conflicts are present amid society, and the development of the city of Jakarta during the regime change witnessed from the top of the building. This film also provides a political and social dimension that is played back through the archives of New Order Indonesian films. I feel that the arguments presented have strong evidence. This is not the first time I have watched this film, but when I re-watched it, this film convinced me as a film student to try to see cinema in Indonesia more deeply.<\/span><\/p>\n

After the film screening ended, the Q&A segment was immediately hosted by Adi Osman in a discussion with Yuki Aditya and I Gde Mika. In this discussion, I Gde Mika shared his experiences in the process of making films, then he said “we identify and re-record scenes that are significant and address specific issues.” He also talked about his friends at Milisifilem and their experience of watching films together every week at bioskopforlen, and Senin Sinema Dunia (\u2018World Cinema Monday\u2019), a routine screening program aiming to trace back films from the period Lumiere to the 1980s. One of the audiences asked about the references that became the frame of mind of the filmmakers. Yuki Aditya mentioned a film titled <\/span>Red Hollywood <\/span><\/i>(1996) by Thom Anderson which also talks about the censorship of Hollywood films, but the most important thing for him is the way he sees the context in the film and remaps the problems that exist in every decade.<\/span><\/p>\n

One of the audiences also shared his impressions, about new viewing experiences and new perspectives from the simplest things to opening new knowledge for him. At the end of the event<\/span>, Hafiz Rancajale, <\/b>chairman of the Forum Lenteng,<\/span> also commented on his interest in watching this film and explained a film development in Indonesia. He also said that “almost none” of the film students, critics, and filmmakers tried to assess or criticize Indonesian film aesthetically and in practice. Indonesian film history has been dominated by constructive regimes, but ironically, we don’t try to criticize this. The last discussion starts to get interesting, when in fact we don’t recognize filmmakers in Indonesia during the New Order era who may now have become a myth and commemorated as street names, but almost no one engages in deep discussions about their aesthetics and practices.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”11707,11708,11709,11710,11712,11713″ img_size=”full”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Program yang dikuratori […]<\/p>\n","protected":false},"author":160,"featured_media":11707,"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":[618,384,1,350],"tags":[625,619,472],"jetpack_publicize_connections":[],"yoast_head":"\nSpecial Screening: Reflecting Film History Through Archives — ARKIPEL<\/title>\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\/special-screening-reflecting-film-history-through-archives\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Special Screening: Reflecting Film History Through Archives — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1670268775769-e05ece63-91ed”][vc_column_text title=”Special Screening: Sejarah Filem yang Direfleksikan Melalui Arsip” css=”.vc_custom_1670268852234{margin-bottom: 0px !important;}”]Penayangan Special Screening: Para Penantang Pemaku Makna yang dikuratori oleh Adi Osman telah tayang pada Rabu, 30 September 2022 di bioskop forlen. 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