{"id":11767,"date":"2022-12-30T06:30:55","date_gmt":"2022-12-29T23:30:55","guid":{"rendered":"https:\/\/arkipel.org\/?p=11767"},"modified":"2022-12-30T06:30:55","modified_gmt":"2022-12-29T23:30:55","slug":"special-presentation-1-skepticism-about-the-imperial-film-archives","status":"publish","type":"post","link":"https:\/\/arkipel.org\/special-presentation-1-skepticism-about-the-imperial-film-archives\/","title":{"rendered":"Special Presentation 1: Skepticism About the Imperial Film Archives"},"content":{"rendered":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356052765-454cfc6c-0d68″][vc_column_text css=”.vc_custom_1672356185432{margin-bottom: 0px !important;}”]Penayangan Special Presentation 1: <\/span>Memikirkan Kembali Risiko dari Arsip Imperial #1<\/span><\/i> yang dikuratori oleh <\/span>Manshur Zikri<\/b> telah tayang pada Kamis, 1 <\/span>Desember<\/span><\/i> 2022 di bioskopforlen. ARKIPEL Catch-22 – <\/span>9<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival<\/span><\/i> telah berlangsung selama tujuh hari. Program yang dikuratori oleh Manshur Zikri ini menayangkan sebuah filem berjudul <\/span>Dead Birds<\/span><\/i> (1964). Proyek ini merupakan bagian dari Ekspedisi<\/span> Harvard Peabody untuk meneliti Papua Nugini. Filem ini disutradarai oleh<\/span> Robert Gardner<\/b>. Acara dimulai pada pukul 16:00 dan dihadiri sekitar 10 orang.<\/span><\/p>\n

Sebelum penayangan filem dimulai, Zikri menerangkan tentang persoalan sinema dalam menyikapi secara kritis dan skeptis mengenai filem yang berupaya mengangkat arsip-arsip kolonial atau imperial sebagai basis konten tersebut. Tetapi filem dihadapkan dengan situasi sekarang, saat kita telah mewarisi bentuk kekerasan kolonial maupun nasional di masa lalu.\u00a0<\/span><\/p>\n

Menarik bagi saya ketika Zikri menyandingkan filem <\/span>Dead Birds<\/span><\/i> dengan<\/span> Expedition Content<\/span><\/i> (2020) untuk melihat fungsi sinema secara sosiopolitik, sinema dapat digunakan sebagai perangkat analitik, tetapi dapat terjebak dalam kerangka kekerasan <\/span>epistemologis<\/span> ketika ia tetap mereplikasi arsip masa lampau yang dianggap mengandung kekerasan. Kemudian yang menjadi pertanyaan akhir dari Zikri \u201cBagaimana kita melawan diskursus semacam ini ?\u201d<\/span><\/p>\n

Filem <\/span>Dead Bird <\/span><\/i>merupakan filem etnografi yang digarap berbasis antropologi, dan diproduksi pada tahun 1950-an. Filem ini menceritakan tentang suku Hubula, yang tinggal di dataran lembah Baliem di daerah pegunungan Papua Nugini. Secara visual filem ini menggambarkan budaya Neolitik yang terjadi di suku Hubula, dan mengkontruksi pandangan kita dalam melihat masyarakat primitif di suku Hubula dengan perspektif kolonial.\u00a0 Cuplikan pemakaman anak menjadi sorotan utama bagi saya, ketika ratusan penduduk berkumpul bersama menangis, dibarengi oleh ritual kematian yang ditukar oleh darah babi, jaring ikan, dan kulit kerang. Namun, bukan kultur tersebut yang menjadi sorotan utama, melainkan emosi dan suara tangisan yang menjadi ekspresi duka. Pada saat yang sama mungkin kita ikut merasakan, ketika menyaksikan salah satu anggota keluarga mati di medan perang.<\/span><\/p>\n

Di awal filem kita telah menyaksikan perang balas dendam antar suku mereka, dan mungkin saja ini perasaan pembuat film akan ketakutan kehilangan momen ini. Karena setiap kematian harus dibalas, dan ini tidak akan pernah berakhir sampai semuanya hilang. Tetapi pada saat yang sama membuat saya bertanya-tanya, apakah peperangan ini terjadi atas keinginan mereka? Atau kepentingan pembuat film untuk mendramatisir kejadian ini? Karena saya merasa seperti menonton filem fiksi yang secara narasi telah dibentuk dalam skema film drama biasanya. <\/span>Dead Bird<\/span><\/i> menjadi judul yang puitis dalam melihat kematian manusia seperti burung yang akan berakhir mati.<\/span><\/p>\n

Setelah film berakhir, Manshur Zikri menambahkan opininya tentang ketertarikannya terhadap filem <\/span>Dead Bird <\/span><\/i>yang<\/span> secara visual tidak terjebak dalam penyampaian narasi etnografis yang monoton. Dia juga menjelaskan bahwa beberapa adegan perang dalam filem ini tidak berasal dari peristiwa yang sama sehingga beberapa kejadian perang di suku Hubula disambungkan menjadi sesuai dengan naratif dalam filem ini. Gardner telah melepaskan konteks secara aktual dari kejadian di lokasi lalu meletakkannya dalam konteks narasi filem. Maka, kita perlu kritis dalam melihat konstruksi dalam filem ini, karena kita tidak bisa menafikan cara pandang Gardner sebagai perwakilan pihak-pihak yang menganggap dirinya adidaya dalam melihat masyarakat suku Hubula.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1672356052771-4c38360d-1abb”][vc_column_text css=”.vc_custom_1672356209045{margin-bottom: 0px !important;}”]The screening of Special Presentation 1: <\/span>Rethinking the Risks of the Imperial Archives #1 <\/span><\/i>curated by <\/span>Manshur Zikri <\/b>premiered on Thursday, 1 <\/span>December <\/span><\/i>2022 at bioskopforlen. ARKIPEL Catch-22 \u2013 <\/span>9<\/span><\/i>th<\/span><\/i> th <\/span><\/i>Jakarta International Documentary and Experimental Film Festival <\/span><\/i>has been going on for seven days. This program, which was curated by Manshur Zikri, screened a film entitled <\/span>Dead Birds <\/span><\/i>(1964). This project is part of the Harvard Peabody Exhibition to research Papua New Guinea. This film was directed by<\/span> Robert Gardner<\/b>. The event started at 16:00 and was attended by around 10 people.<\/span><\/p>\n

Before the screening began, Zikri explained the problem of cinema in responding critically and skeptically to films that try to raise colonial or imperial archives as the basis for such content. But the film is faced with the current situation, when we have inherited forms of colonial and national violence in the past.<\/span><\/p>\n

It is interesting to me that when Zikri juxtaposes the film <\/span>Dead Birds <\/span><\/i>with <\/span>Expedition Content <\/span><\/i>(2020) to see the function of cinema from a sociopolitical perspective, cinema can be used as an analytical tool, but it can also be trapped in a framework of <\/span>epistemological violence <\/span>when it continues to replicate past archives that are considered to contain violence. Then the final question from Zikri “how do we counter this kind of discourse?”<\/span><\/p>\n

The film <\/span>Dead Bird <\/span><\/i>is an ethnographic film that was based on the anthropological work of the Hubula tribe and was produced in the 1950s. This film tells the story of the Hubula tribe, who live in the plains of the Baliem valley in the mountainous area of Papua New Guinea. Visually, this film depicts the Neolithic culture that occurred in the Hubula tribe and constructs our view of seeing primitive society in the Hubula tribe from a colonial perspective. Footage of the child’s funeral was a highlight for me, as hundreds of residents gathered together in tears, accompanied by ritual deaths exchanged for pig’s blood, fishing nets, and seashells. However, it is not the culture that is the main focus, but the emotions and sounds of crying that are expressions of grief. At the same time, maybe we feel it when we witness a family member die on the battlefield.<\/span><\/p>\n

At the beginning of the film, we witnessed a war of revenge between the tribes, and maybe this is the feeling of the filmmaker who is afraid of losing this moment. Because every death must be avenged, and this will never end until all is lost. But at the same time, it makes me wonder, did this war happen on their own accord? Or was it created to dramatize past events in the interest of the filmmaker? Because I feel like I’m watching a fictional film that is narratively formed in the usual scheme of a dramatic film. <\/span>Dead Bird <\/span><\/i>becomes a poetic title in perceiving the death of humans like a bird that will end up dying.<\/span><\/p>\n

After the film ended, Manshur Zikri expressed his opinion about his interest in the <\/span>Dead Bird<\/span><\/i>\u2019s visual which is not trapped in the delivery of a monotonous ethnographic narrative. He also explained that several war scenes in this film did not originate from the same event, so several war events in the Hubula tribe were connected to match the narrative in this film. Gardner has removed the actual context from the incident on location and then placed it in the context of the film’s narrative. So, we need to be critical in looking at construction in this film, because we cannot deny Gardner’s point of view as a representative of people who considers himself a superpower in viewing the Hubula tribal community.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”11768,11769,11770,11771″ img_size=”full”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Program yang dikuratori oleh Manshur Zikri ini menayangkan […]<\/p>\n","protected":false},"author":160,"featured_media":11769,"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":[618,1,349],"tags":[625,619,280],"jetpack_publicize_connections":[],"yoast_head":"\nSpecial Presentation 1: Skepticism About the Imperial Film 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-presentation-1-skepticism-about-the-imperial-film-archives\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Special Presentation 1: Skepticism About the Imperial Film Archives — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356052765-454cfc6c-0d68″][vc_column_text css=”.vc_custom_1672356185432{margin-bottom: 0px !important;}”]Penayangan Special Presentation 1: Memikirkan Kembali Risiko dari Arsip Imperial #1 yang dikuratori oleh Manshur Zikri telah tayang pada Kamis, 1 Desember 2022 di bioskopforlen. 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