{"id":11964,"date":"2023-09-23T01:53:30","date_gmt":"2023-09-22T18:53:30","guid":{"rendered":"https:\/\/arkipel.org\/?p=11964"},"modified":"2023-09-26T13:36:55","modified_gmt":"2023-09-26T06:36:55","slug":"nmt-ic1","status":"publish","type":"post","link":"https:\/\/arkipel.org\/nmt-ic1\/","title":{"rendered":"Noli Me Tangere – International Competition 1"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1695409295656{margin-bottom: 0px !important;}”]\n

Konfigurasi Ulang Pengalaman Modernitas
\n<\/b><\/strong>Reconfiguring the Experience of Modernity<\/b><\/em><\/span><\/h1>\n

Host<\/em> Akbar Yumni<\/strong><\/p>\n

Sabtu, 25 September 2023 \u2013 16:00<\/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_1695409331617{margin-bottom: 0px !important;}”]Dalam perspektif Jacques Ranciere, potensi sinema dokumenter adalah sebagai \u2018estetika pengetahuan\u2019 sebagai deskripsi dan konfigurasi ulang dunia pengalaman umum, melalui mana pengetahuan dan fakta memperoleh maknanya. Itu karenanya selalu ada kemungkinan-kemungkinan eksperimentatif yang selalu terbuka dari fakta yang terberi di hadapan kamera, di mana gerak beserta\u00a0 jukstaposisi gambar sendiri semacam penataan baru atas konstruksi realitas yang sedang berlangsung. Konfigurasi ulang ini menjadi politis ketika sinema dokumenter sanggup menyiratkan hal-hal yang tak tercitrakan dan tak terdengar, untuk kemudian menghadirkan penegasan atas subyek-subyek yang tersirat sebagai kemudian mengubah tatanan distribusi yang sensibel.<\/span><\/p>\n

Berkisah tentang Zhang Xue, seorang guru moral di Tiongkok yang berkeliling memberikan ceramah tentang nilai kebajikan perempuan dan pernikahan di dalam tradisi Tionghoa, sebagai pergulatan peran di tengah modernitas Tionghoa, dan sebagai siasat adaptasi di tengah keterasingan modernitas dalam ranah tradisi, melalui usaha mencari relevansi nilai-nilai luhur masyarakat hari ini.\u00a0 Dalam konteks ini, sinema dokumenter mencoba mengkonfigurasi ulang, subyek-subyek yang tenggelam, atau ditenggelamkan, khususnya bagaimana perihal tradisi coba diperbincangkan kembali dalam situasi keterasingan terhadap modernitas Tiongkok. Dalam praktiknya tidak ada modernitas yang berjalan linear dalam perjalanan bangsa-bangsa di Asia, karena konteks sejarah bangsa yang berbeda dengan Eropa yang memiliki tradisi rasionalitas.\u00a0<\/span><\/p>\n

Secara dokumenteris perjalanan Zhang Xue sendiri bukan tanpa hambatan, sebagaimana juga agenda modernitas di Tionghoa yang berjalan tidak mulus. Berbagai sudut merekam keberjarakan dengan pandangan-pandangan Zhang Xue pun tak terelakkan, khususnya bagaimana tanggapan generasi muda atas pemaknaan tradisi yang coba diterapkan dalam\u00a0 menghadapi keterasingan dalam modernitas. Jarak menjadi sesuatu yang niscaya, sebagaimana tatanan nilai ketika diterapkan dalam praktik, termasuk usaha sinema dokumenteris mencoba menangkap keintiman para subyeknya dalam filem <\/span>Old Fashion, New Life<\/span><\/i>.\u00a0<\/span><\/p>\n

Dalam perspektif Jacques Ranciere, dalam sinema dokumenter selalu membutuhkan fiksi, khususnya bagi subyek-subyek yang belum terbingkai di dalam tatanan citra yang berlaku. Hubungan fiksi dan fakta menurut Ranciere adalah \u2018ingatan\u2019, namun ingatan bukan pengalaman subyektif masa lalu yang dilakukan oleh seorang individu, melainkan pengelolaan puitis dari pengetahuan dan kepekaan yang\u00a0 mengingkari gudang informasi statis. Dalam konteks filem <\/span>Old Fashion, New Life<\/span><\/i> sendiri, perjalanan Zhang Xue adalah bentangan tegangan antara kejenuhan akan modernitas dan dorongan akan pemaknaan kembali tradisi sebagai fakta yang kompleks. Beberapa perjalanan Xue sendiri adalah perjumpaan-perjumpaan subyektif dengan para kaum ibu, anak muda perempuan, yang kompleksitasnya sendiri muncul bersama tatapan kamera sebagai aparatus dari sinema.\u00a0<\/span><\/p>\n

Modernitas sendiri adalah fiksi, setidaknya mendistingsi hubungan manusia dan alamnya sebagai hubungan subyek-objek. Nalar subyek ini juga turut\u00a0 mengkontruksi tatanan sosial masyarakat berdasarkan rasionalitas. Sinema dokumenter sendiri bagi Ranciere membutuhkan fiksi bagi mereka, para subyek yang tidak tertempakan di dalam tatanan citra modern. Tokoh Zhang Xue sendiri adalah subyek guru moral yang mengajarkan keluhuran nilai tradisi bagi kaum perempuan Tionghoa di tengah pergulatan dan keterasingan modernitas yang mereka alami, sebagai subyek yang belum terdengarkan dan terlihat dalam tatanan citra modern.\u00a0 Sebagaimana Zhang Xue yang membutuhkan fiksi, setidaknya pada filem <\/span>Old Fashion, New Life<\/span><\/i>, adalah penataan ulang konfigurasi kenyataan kaum perempuan yang berlangsung di Tiongkok hari ini untuk lebih terlihat dan terdengar, di antara dominasi linieritas modern yang telah lama menanam tatanan yang mendikotomikan nilai-nilai luhur tradisi di dalam masyarakat<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1695409354831{margin-bottom: 0px !important;}”]In Jacques Ranciere’s perspective, the potential of documentary cinema is as an ‘aesthetics of knowledge’ as a description and reconfiguration of the world of common experience, through which knowledge and facts acquire their meaning. That is why there are always experimental possibilities that are always open from the facts that are given before the camera, where the motion along with the juxtaposition of the image itself is a kind of new arrangement of the ongoing construction of reality. This reconfiguration becomes political when documentary cinema is able to imply things that are not represented and not heard, to then present the affirmation of the implied subjects as then changing the sensible distribution order.<\/span><\/p>\n

It tells the story of Zhang Xue, a moral teacher in China who travels around giving lectures on the value of female virtue and marriage in Chinese tradition, as a role struggle in the midst of Chinese modernity, and as a strategy of adaptation amidst the alienation of modernity in the realm of tradition, through trying to find the relevance of noble values in today’s society.\u00a0 In this context, documentary cinema tries to reconfigure subjects that are drowned, or submerged, especially how the subject of tradition is tried to be discussed again in a situation of alienation from Chinese modernity. In practice, there is no linear modernity in the journey of Asian nations, because the historical context of the nation is different from Europe, which has a tradition of rationality.\u00a0<\/span><\/p>\n

Documentarily, Zhang Xue’s journey is not without obstacles, as the Chinese modernity agenda has not gone smoothly. Various angles of recording the distance with Zhang Xue’s views are inevitable, especially how the younger generation responds to the meaning of tradition that is trying to be applied in the face of alienation in modernity. Distance becomes an inevitability, just like the values when applied in practice, including documentary cinema’s attempt to capture the intimacy of its subjects in the movie <\/span>Old Fashion, New Life<\/span><\/i>.\u00a0<\/span><\/p>\n

In Jacques Ranciere’s perspective, documentary cinema always needs fiction, especially for subjects that have not been framed in the prevailing image order. The relationship between fiction and fact according to Ranciere is ‘memory’, but memory is not a subjective experience of the past carried out by an individual, but rather a poetic management of knowledge and sensibility that denies a static repository of information. In the context of <\/span>Old Fashion, New Life<\/span><\/i> itself, Zhang Xue’s journey is a tension between the saturation of modernity and the urge to reinterpret tradition as a complex fact. Some of Xue’s journeys are subjective encounters with mothers, young women, whose own complexity emerges with the camera’s gaze as an apparatus of cinema.\u00a0<\/span><\/p>\n

Modernity itself is a fiction, at least distinguishing the relationship between humans and nature as a subject-object relationship. This subject reasoning also constructs the social order of society based on rationality. Documentary cinema itself, for Ranciere, needs fiction for those subjects who are not embedded in the modern image structure. Zhang Xue is a moral teacher who teaches traditional values to Chinese women in the midst of the struggle and alienation of modernity, as subjects who have not been heard and seen in the modern image structure.\u00a0 Just as Zhang Xue needs fiction, at least in the movie <\/span>Old Fashion, New Life<\/span><\/i>, is the rearrangement of the configuration of women’s reality that takes place in China today to be more visible and audible, among the dominance of modern linearity that has long planted an order that dichotomizes the noble values of tradition in society.<\/span>[\/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=”11881″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695555206665{margin-bottom: 0px !important;}”]\n

\u5973\u5fb7<\/h2>\n

Old Fashion, New Life<\/h2>\n

Filmmaker <\/em>Lam Can-zhao<\/strong>
\n<\/em>Country of Production<\/em> China\/Malaysia
\n<\/strong>Language<\/em> Chinese
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

141 min, Stereo, Black & White,\u00a0 2023<\/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_1695710190011{margin-bottom: 0px !important;}”]Berkisah tentang Zhang Xue, seorang guru moral di Tiongkok yang berkeliling melakukan mentoring moral tentang nilai-nilai keluarga, pernikahan, dan kebaikan-kebaikan perempuan. Pergulatan antara modernitas dan kerinduan akan tradisi seakan tidak terelakkan, dari linieritas kapitalisme yang pada titik tertentu mengasingkan, namun di titik lain, kerinduan akan nilai-nilai luhur dari tradisi juga tidak luput dari spasialitas generasi muda perempuan Tiongkok hari ini, di mana tradisi sendiri juga nilai yang selalu tumbuh, tidak luput dari kebersituasian modernitas ketika diterapkan dan ditafsirkan.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695409871039{margin-bottom: 0px !important;}”]It tells the story of Zhang Xue, a moral teacher in China who goes around mentoring morals about family values, marriage, and the virtues of women. The struggle between modernity and the longing for tradition seems inevitable, from the linearity of capitalism that at a certain point alienates, but at another point, the longing for the noble values of tradition also does not escape the spatiality of the younger generation of Chinese women today, where tradition itself is also an ever-growing value, not escaping the situatedness of modernity when applied and interpreted.\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=”11966″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695409969329{margin-bottom: 0px !important;}”]Lam Can-zhao, sineas Tiongkok lahir 1994, debut sutradara di usia 20 dengan “THE DOG,” film berbujet rendah sorotan. 2023, ia produser, penulis, dan menyunting “A Bright Sunny Day,” pilihan LA CINEF di Festival Film Cannes ke-76. Film-filmnya undang di 200+ festival dunia, termasuk Visions du R\u00e9el, Los Angeles Asian Pacific FF, Jeonju IFF, Shanghai IFF, Beijing IFF, Bogota FF, Durban IFF, Les Rencontres d’Arles, DocAviv, AmDocs, DokuFest, Kerala, Taipei Golden Horse FF, dan lainnya.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695409994011{margin-bottom: 0px !important;}”]Lam Can-zhao, Chinese filmmaker born 1994, made his directorial debut at the age of 20 with “THE DOG,” a low budget highlight film. In 2023, he produced, wrote, and edited “A Bright Sunny Day,” an LA CINEF selection at the 76th Cannes Film Festival. His films are invited to 200+ festivals worldwide, including Visions du R\u00e9el, Los Angeles Asian Pacific FF, Jeonju IFF, Shanghai IFF, Beijing IFF, Bogota FF, Durban IFF, Les Rencontres d’Arles, DocAviv, AmDocs, DokuFest, Kerala, Taipei Golden Horse FF, and others.<\/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=”5878″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695549996361{margin-bottom: 0px !important;}”]Akbar Yumni<\/b><\/p>\n

AKBAR YUMNI menempuh pendidikan di Universitas Muhammadiyah Malang dan Sekolah Tinggi Filsafat (STF) Driyarkara, Jakarta. Ia adalah anggota Forum Lenteng dan salah satu kurator di ARKIPEL \u2013 Jakarta International Documentary and Experimental Film Festival dari tahun 2013. Pada tahun 2015, ia memprakarsai dan berkontribusi di www.jurnalfootage.net. Pernah mengikuti Curator Academy, Theater Work-Goethe Institut, 24-28 Januari 2018 di Singapura. Menerima Hibah Seni Kelola pada tahun 2021. Aktivitasnya sebagai seniman performans adalah memunculkan kembali arsip-arsip film Indonesia yang hilang selama rezim otoriter. Beberapa karya performans reenactment-nya antara lain; \u201cMenonton Turang (1957) \u2013 Bachtar Siagian\u201d pada tahun 2018, \u201cMenonton Daerah Hilang (1956) \u2013 Bachtiar Siagian pada tahun 2020, \u201cMenonton Sedap Malam (1951) \u2013 Ratna Asmara\u201d pada tahun 2021.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695550014014{margin-bottom: 0px !important;}”]Akbar Yumni<\/b><\/p>\n

AKBAR YUMNI studied at University of Muhammadiyah Malang and STF (Higher Education for Philosophy) Driyarkara, Jakarta. He is a member of Forum Lenteng and one of the curators at ARKIPEL \u2013 Jakarta International Documentary and Experimental Film Festival from 2013-2018. In 2015, he initiated and contributed in www.jurnalfootage.net. He attended the Curator Academy, Theater Work-Goethe Institut, 24-28 January 2018 in Singapore. Received Hibah Seni Kelola (Kelola Art Grant) in 2021. His activity as a performance artist is reenacting Indonesian film archives that were lost during the authoritarian regime. Some of his reenactment performance works include; \u201cMenonton Turang (1957) \u2013 Bachtar Siagian\u201d in 2018, \u201cMenonton Daerah Hilang (1956) \u2013 Bachtiar Siagian in 2020, \u201cMenonton Sedap Malam (1951) \u2013 Ratna Asmara\u201d in 2021.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

In Jacques Ranciere\u2019s perspective, the potential of documentary cinema is as an \u2018aesthetics of knowledge\u2019 as a description and reconfiguration of the world of common experience, through which knowledge and facts acquire their meaning. That is why there are always experimental possibilities that are always open from the facts that are given before the camera, where the motion along with the juxtaposition of the image itself is a kind of new arrangement of the ongoing construction of reality. This reconfiguration becomes political when documentary cinema is able to imply things that are not represented and not heard, to then present the affirmation of the implied subjects as then changing the sensible distribution order.<\/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":[654,344],"tags":[192,656,655],"jetpack_publicize_connections":[],"yoast_head":"\nNoli Me Tangere - International Competition 1 — ARKIPEL<\/title>\n<meta name=\"description\" content=\"In Jacques Ranciere\u2019s perspective, the potential of documentary cinema is as an \u2018aesthetics of knowledge\u2019 as a description and reconfiguration of the world of common experience, through which knowledge and facts acquire their meaning. That is why there are always experimental possibilities that are always open from the facts that are given before the camera, where the motion along with the juxtaposition of the image itself is a kind of new arrangement of the ongoing construction of reality. This reconfiguration becomes political when documentary cinema is able to imply things that are not represented and not heard, to then present the affirmation of the implied subjects as then changing the sensible distribution order.\" \/>\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\/nmt-ic1\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Noli Me Tangere - International Competition 1 — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"In Jacques Ranciere\u2019s perspective, the potential of documentary cinema is as an \u2018aesthetics of knowledge\u2019 as a description and reconfiguration of the world of common experience, through which knowledge and facts acquire their meaning. That is why there are always experimental possibilities that are always open from the facts that are given before the camera, where the motion along with the juxtaposition of the image itself is a kind of new arrangement of the ongoing construction of reality. This reconfiguration becomes political when documentary cinema is able to imply things that are not represented and not heard, to then present the affirmation of the implied subjects as then changing the sensible distribution order.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/arkipel.org\/nmt-ic1\/\" \/>\n<meta property=\"og:site_name\" content=\"ARKIPEL\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/arkipel.festival\/\" \/>\n<meta property=\"article:author\" content=\"http:\/\/facebook.com\/arkipel.festival\" \/>\n<meta property=\"article:published_time\" content=\"2023-09-22T18:53:30+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-09-26T06:36:55+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/arkipel-logo-1080-x-564.png?fit=1080%2C564&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"1080\" \/>\n\t<meta property=\"og:image:height\" content=\"564\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Arkipel\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@http:\/\/twitter.com\/arkipel\" \/>\n<meta name=\"twitter:site\" content=\"@arkipel\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Arkipel\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/arkipel.org\/nmt-ic1\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/nmt-ic1\/\"},\"author\":{\"name\":\"Arkipel\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef\"},\"headline\":\"Noli Me Tangere – International Competition 1\",\"datePublished\":\"2023-09-22T18:53:30+00:00\",\"dateModified\":\"2023-09-26T06:36:55+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/arkipel.org\/nmt-ic1\/\"},\"wordCount\":2007,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"keywords\":[\"International Competition\",\"NMT\",\"NMT program\"],\"articleSection\":[\"ARKIPEL 2023 - Noli Me Tangere\",\"International Competition\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/arkipel.org\/nmt-ic1\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/arkipel.org\/nmt-ic1\/\",\"url\":\"https:\/\/arkipel.org\/nmt-ic1\/\",\"name\":\"Noli Me Tangere - International Competition 1 — ARKIPEL\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/#website\"},\"datePublished\":\"2023-09-22T18:53:30+00:00\",\"dateModified\":\"2023-09-26T06:36:55+00:00\",\"description\":\"In Jacques Ranciere\u2019s perspective, the potential of documentary cinema is as an \u2018aesthetics of knowledge\u2019 as a description and reconfiguration of the world of common experience, through which knowledge and facts acquire their meaning. That is why there are always experimental possibilities that are always open from the facts that are given before the camera, where the motion along with the juxtaposition of the image itself is a kind of new arrangement of the ongoing construction of reality. This reconfiguration becomes political when documentary cinema is able to imply things that are not represented and not heard, to then present the affirmation of the implied subjects as then changing the sensible distribution order.\",\"breadcrumb\":{\"@id\":\"https:\/\/arkipel.org\/nmt-ic1\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/arkipel.org\/nmt-ic1\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/arkipel.org\/nmt-ic1\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/arkipel.org\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Noli Me Tangere – International Competition 1\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/arkipel.org\/#website\",\"url\":\"https:\/\/arkipel.org\/\",\"name\":\"ARKIPEL\",\"description\":\"Jakarta International Documentary and Experimental Film Festival\",\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/arkipel.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/arkipel.org\/#organization\",\"name\":\"Arkipel\",\"url\":\"https:\/\/arkipel.org\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1\",\"width\":901,\"height\":351,\"caption\":\"Arkipel\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/arkipel.festival\/\",\"https:\/\/x.com\/arkipel\",\"https:\/\/www.instagram.com\/arkipel\/\",\"https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef\",\"name\":\"Arkipel\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g\",\"caption\":\"Arkipel\"},\"description\":\"ARKIPEL - Jakarta International Documentary & Experimental Film Festival, held in Indonesia by Forum Lenteng. This festival is a open space of cinema and media discourse in general, especially documentary and experimental film genre.\",\"sameAs\":[\"http:\/\/arkipel.org\/\",\"http:\/\/facebook.com\/arkipel.festival\",\"https:\/\/x.com\/http:\/\/twitter.com\/arkipel\"],\"url\":\"https:\/\/arkipel.org\/people\/arkipel\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Noli Me Tangere - International Competition 1 — ARKIPEL","description":"In Jacques Ranciere\u2019s perspective, the potential of documentary cinema is as an \u2018aesthetics of knowledge\u2019 as a description and reconfiguration of the world of common experience, through which knowledge and facts acquire their meaning. That is why there are always experimental possibilities that are always open from the facts that are given before the camera, where the motion along with the juxtaposition of the image itself is a kind of new arrangement of the ongoing construction of reality. This reconfiguration becomes political when documentary cinema is able to imply things that are not represented and not heard, to then present the affirmation of the implied subjects as then changing the sensible distribution order.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/arkipel.org\/nmt-ic1\/","og_locale":"en_US","og_type":"article","og_title":"Noli Me Tangere - International Competition 1 — ARKIPEL","og_description":"In Jacques Ranciere\u2019s perspective, the potential of documentary cinema is as an \u2018aesthetics of knowledge\u2019 as a description and reconfiguration of the world of common experience, through which knowledge and facts acquire their meaning. That is why there are always experimental possibilities that are always open from the facts that are given before the camera, where the motion along with the juxtaposition of the image itself is a kind of new arrangement of the ongoing construction of reality. This reconfiguration becomes political when documentary cinema is able to imply things that are not represented and not heard, to then present the affirmation of the implied subjects as then changing the sensible distribution order.","og_url":"https:\/\/arkipel.org\/nmt-ic1\/","og_site_name":"ARKIPEL","article_publisher":"https:\/\/www.facebook.com\/arkipel.festival\/","article_author":"http:\/\/facebook.com\/arkipel.festival","article_published_time":"2023-09-22T18:53:30+00:00","article_modified_time":"2023-09-26T06:36:55+00:00","og_image":[{"width":1080,"height":564,"url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/arkipel-logo-1080-x-564.png?fit=1080%2C564&ssl=1","type":"image\/png"}],"author":"Arkipel","twitter_card":"summary_large_image","twitter_creator":"@http:\/\/twitter.com\/arkipel","twitter_site":"@arkipel","twitter_misc":{"Written by":"Arkipel","Est. reading time":"8 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/arkipel.org\/nmt-ic1\/#article","isPartOf":{"@id":"https:\/\/arkipel.org\/nmt-ic1\/"},"author":{"name":"Arkipel","@id":"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef"},"headline":"Noli Me Tangere – International Competition 1","datePublished":"2023-09-22T18:53:30+00:00","dateModified":"2023-09-26T06:36:55+00:00","mainEntityOfPage":{"@id":"https:\/\/arkipel.org\/nmt-ic1\/"},"wordCount":2007,"commentCount":0,"publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"keywords":["International Competition","NMT","NMT program"],"articleSection":["ARKIPEL 2023 - Noli Me Tangere","International Competition"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/arkipel.org\/nmt-ic1\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/arkipel.org\/nmt-ic1\/","url":"https:\/\/arkipel.org\/nmt-ic1\/","name":"Noli Me Tangere - International Competition 1 — ARKIPEL","isPartOf":{"@id":"https:\/\/arkipel.org\/#website"},"datePublished":"2023-09-22T18:53:30+00:00","dateModified":"2023-09-26T06:36:55+00:00","description":"In Jacques Ranciere\u2019s perspective, the potential of documentary cinema is as an \u2018aesthetics of knowledge\u2019 as a description and reconfiguration of the world of common experience, through which knowledge and facts acquire their meaning. That is why there are always experimental possibilities that are always open from the facts that are given before the camera, where the motion along with the juxtaposition of the image itself is a kind of new arrangement of the ongoing construction of reality. This reconfiguration becomes political when documentary cinema is able to imply things that are not represented and not heard, to then present the affirmation of the implied subjects as then changing the sensible distribution order.","breadcrumb":{"@id":"https:\/\/arkipel.org\/nmt-ic1\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/arkipel.org\/nmt-ic1\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/arkipel.org\/nmt-ic1\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/arkipel.org\/"},{"@type":"ListItem","position":2,"name":"Noli Me Tangere – International Competition 1"}]},{"@type":"WebSite","@id":"https:\/\/arkipel.org\/#website","url":"https:\/\/arkipel.org\/","name":"ARKIPEL","description":"Jakarta International Documentary and Experimental Film Festival","publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/arkipel.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/arkipel.org\/#organization","name":"Arkipel","url":"https:\/\/arkipel.org\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","width":901,"height":351,"caption":"Arkipel"},"image":{"@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/arkipel.festival\/","https:\/\/x.com\/arkipel","https:\/\/www.instagram.com\/arkipel\/","https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ"]},{"@type":"Person","@id":"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef","name":"Arkipel","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g","caption":"Arkipel"},"description":"ARKIPEL - Jakarta International Documentary & Experimental Film Festival, held in Indonesia by Forum Lenteng. This festival is a open space of cinema and media discourse in general, especially documentary and experimental film genre.","sameAs":["http:\/\/arkipel.org\/","http:\/\/facebook.com\/arkipel.festival","https:\/\/x.com\/http:\/\/twitter.com\/arkipel"],"url":"https:\/\/arkipel.org\/people\/arkipel\/"}]}},"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-36Y","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/11964"}],"collection":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=11964"}],"version-history":[{"count":8,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/11964\/revisions"}],"predecessor-version":[{"id":12134,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/11964\/revisions\/12134"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=11964"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=11964"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=11964"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}