{"id":12222,"date":"2023-10-01T11:52:40","date_gmt":"2023-10-01T04:52:40","guid":{"rendered":"https:\/\/arkipel.org\/?p=12222"},"modified":"2023-10-01T11:57:56","modified_gmt":"2023-10-01T04:57:56","slug":"ic-07-noli-me-tangere","status":"publish","type":"post","link":"https:\/\/arkipel.org\/ic-07-noli-me-tangere\/","title":{"rendered":"International Competition 7: Gossip and Jokes about Opposing Poles"},"content":{"rendered":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Kompetisi Internasional 7: Gosip dan Lelucon tentang Dua Kutub yang Berseberangan” css=”.vc_custom_1696135526940{margin-bottom: 0px !important;}”]Festival filem ARKIPEL <\/span>Noli Me Tangere \u2013 10th Jakarta International Documentary and Experimental Film Festival <\/span><\/i>masih terus berlanjut. Pada tanggal 28 September 2023 sesi penayangan untuk Kompetisi Internasional 7 dengan tajuk kuratorial <\/span>Polaris <\/span><\/i>atau<\/span> Bintang Kutub<\/span><\/i> diputar di bioskop Forum Lenteng pada pukul 16.00 sore.\u00a0<\/span><\/p>\n

Dalam pembukaan sesi penayangan, <\/span>Luthfan Nur Rochman<\/b>, selaku kurator sesi ini mengatakan bahwa keempat filem yang akan ditayangkan di sesi ini membedah efek perang dingin dan bagaimana dunia ketiga merasakan efek dari projek infrastruktur besar dari masa tersebut. Selain itu, keempat filem ini juga mampu mendisrupsi ide dan nilai-nilai yang tercipta dari periode tersebut dengan menggunakan gosip dan lelucon dalam melihat peristiwa-peristiwa pasca Perang Dingin yang diselimuti oleh bayang-bayang dua bintang kutub yang berseberangan.\u00a0<\/span><\/p>\n

Filem pertama yang diputar adalah <\/span>Shokouk <\/span><\/i>(2023)<\/span> diproduksi di Uzbekistan dan Kanada, disutradarai <\/span>Rouzbeh Akhbari<\/b> dan <\/span>Felix Kalmenson<\/b>. <\/span>Shokouk <\/span><\/i>menampilkan sebuah visual komedi tentang obsesi negara-negara adidaya terhadap projek antariksa tanpa mempertimbangkan kondisi sosial masyarakatnya, yang membuat sebuah kondisi jenaka. <\/span>Shokouk <\/span><\/i>dibagi ke dalam empat bagian yang masing-masing menunjukkan warisan era Perang Dingin, yaitu proyek eksplorasi ruang angkasa. Pada bagian pertama kita melihat sekumpulan orang yang menonton tiruan peluncuran roket, pada bagian kedua kita bertemu dengan sebuah karakter bernama Nikifor Nikitin yang berusaha pergi ke Baikonur (tempat peluncuran roket Soviet) untuk pergi ke bulan demi mencari kehidupan yang lebih baik. Pada adegan ketiga kita pergi sebuah tambang di perbatasan Tiongkok dan menghadiri perayaan sebuah perusahaan diiringi oleh duet karaoke antara Omar Khayyam dan Nasirdin Al-Tusi yang berdiskusi tentang Polaris dan kejatuhan zaman keemasan Islam. Perjalanan lintas geo temporal ini diakhiri di bekas stasiun antariksa milik Soviet di mana kita mendengar potongan arsip wawancara seorang Kosmonot yang terjebak di stasiun antariksa saat Soviet runtuh dan Perang Dingin menuju fase terakhir.\u00a0<\/span><\/p>\n

Shokouk <\/span><\/i>merepresentasikan gosip-gosip dan ide jenaka dalam membaca situasi geopolitik masa kini yang masih banyak dipengaruhi oleh ekses kebijakan masa Perang Dingin, seperti eksplorasi ruang angkasa. Filem ini memperlihatkan kekonyolan obsesi tersebut dengan menunjukkan bahwa eksplorasi ruang angkasa tidaklah dilakukan untuk ilmu pengetahuan, tetapi merupakan usaha hegemoni dan nostalgia kekuasaan untuk menguasai Bintang Kutub di ruang angkasa.\u00a0<\/span><\/p>\n

Filem kedua adalah <\/span>Imaginary Futures: Tourism <\/span><\/i>(2022)<\/span> sutradara <\/span>Darko Fritz<\/b>, diproduksi di Kroasia. Filem ini menggunakan arsip dan imaji digital 3D untuk mewujudkan sebuah visi dari konsep sebuah kota di Yugoslavia yang dibuat sebagai sebuah simbol persahabatan antar negara non-blok. Kota yang dibuat menyerupai tubuh manusia dengan berbagai bagian yang ditujukan sebagai tempat para seniman memamerkan karya. Penggabungan imaji digital dan arsip yang dilakukan oleh Darko Fritz membuat sebuah cerita tragis tentang utopia yang hilang ditelan oleh situasi geopolitik pasca Perang Dingin.\u00a0<\/span><\/p>\n

Filem ketiga adalah <\/span>An Asian Ghost Story <\/span><\/i>(2023) sutradara <\/span>Bo Wang<\/b>, diproduksi di Belanda, Hong Kong, dan Tiongkok. Filem ini mengeksplorasi permasalahan kondisi politik Hong Kong, yang berada di antara dua ideologi, dari sudut pandang hantu dan masalah perdagangan wig dari Asia. Filem ini juga menggunakan lelucon untuk membaca kondisi era pasca Perang Dingin dengan menggunakan beberapa adegan fiksi: seorang peneliti yang membuat alat untuk berkomunikasi dengan hantu melalui rambut dan wawancara dengan kuntilanak (hantu) yang terjebak di Hong Kong.\u00a0<\/span><\/p>\n

Berangkat dari kebijakan radikal untuk menghalau impor rambut dari Komunis Tiongkok oleh Amerika Serikat dengan mengkategorisasi rambut sebagai Komunis dan non-Komunis, filem ini menunjukkan pengaruh kekal dari kebijakan-kebijakan era Perang Dingin di Hong Kong, baik dari kacamata warganya sendiri atau imigran (Kuntilanak). Hal itu untuk menunjukkan polemik Hong Kong masa kini yang menentukan nasibnya di bawah bayangan Partai Komunis Tiongkok Daratan dan Amerika Serikat.\u00a0<\/span><\/p>\n

Filem keempat adalah <\/span>Taxibol <\/span><\/i>(2023) sutradara <\/span>Tommaso Santambrogio<\/b>, diproduksi di Kuba dan Italia. Filem ini menggambarkan permasalahan trauma sejarah dan bagaimana sinema dapat menggambarkan perspektif sebuah peristiwa dengan menggunakan kontras antara dua kutub yaitu Lav Diaz, seorang sineas legendaris Filipina yang banyak membuat karya yang bertema tentang rezim Marcos dan efeknya ke Filipina sekarang, dan Juan Mijares Cruz, bekas jenderal dan kolega dekat Marcos yang kabur ke Kuba setelah rezim Marcos runtuh.\u00a0<\/span><\/p>\n

Filem ini dimulai dengan percakapan di dalam taksi, Lav Diaz dengan supir taksi Kuba, hingga kehidupan sang jenderal eksil yang hidup dalam trauma namun juga masih menggunakan kekerasan untuk mengontrol orang-orang disekitarnya, layaknya binatang-binatang yang ia ternak. <\/span>Taxibol <\/span><\/i>menunjukkan permasalahan jangka panjang dari rezim diktator di dunia ketiga yang \u201cdibuat\u201d oleh negara-negara adidaya pada era Perang Dingin, dan sebuah negara yang masih terjebak dalam penyangkalan dan amnesia terhadap trauma sejarahnya sendiri. <\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1672356843702-2655322e-0974″][vc_column_text title=”International Competition 7: Gossip and Jokes about Opposing Poles” css=”.vc_custom_1696135557834{margin-bottom: 0px !important;}”]The ARKIPEL <\/span>Noli Me Tangere – 10th Jakarta International Documentary and Experimental Film Festival<\/span><\/i> is still continuing. On September 28, 2023 the screening session for International Competition 7 with the curatorial title <\/span>Polaris<\/span><\/i> or <\/span>Bintang Kutub<\/span><\/i> was screened at the Forum Lenteng cinema at 4pm.\u00a0<\/span><\/p>\n

In the opening of the screening session, <\/span>Luthfan Nur Rochman<\/b>, as the curator, said that the four films that will be screened in this session dissect the effects of the cold war and how the third world feels the effects of large infrastructure projects from that time. In addition, these four films are also able to disrupt the ideas and values created from the period by using gossip and jokes in viewing post-Cold War events that are shrouded by the shadow of two opposing polar.<\/span><\/p>\n

The first film screened was <\/span>Shokouk <\/span><\/i>(2023) produced in Uzbekistan and Canada, directed by <\/span>Rouzbeh Akhbari<\/b> and <\/span>Felix Kalmenson<\/b>. <\/span>Shokouk<\/span><\/i> features a visual comedy about superpowers’ obsession with space projects without considering the social conditions of the people, which makes for a humorous situation. <\/span>Shokouk<\/span><\/i> is divided into four sections, each of which shows a legacy of the Cold War era, which is the space exploration project. In the first section we see a group of people watching a mock rocket launch, in the second we meet a character named Nikifor Nikitin who is trying to go to Baikonur (the Soviet rocket launch site) to go to the moon in search of a better life. In the third scene we go to a mine on the Chinese border and attend a company celebration where a karaoke duet between Omar Khayyam and Nasirdin Al-Tusi discuss Polaris and the fall of the Islamic golden age. This geo-temporal journey ends at a former Soviet space station where we hear archival footage of an interview with a cosmonaut who was trapped on the space station when the Soviets collapsed and the Cold War went into its final phase.<\/span><\/p>\n

Shokouk <\/span><\/i>represents gossip and witty ideas in reading the current geopolitical situation that is still deeply influenced by the excesses of Cold War policies, such as space exploration. The film shows the ridiculousness of this obsession by showing that space exploration is not for the sake of science, but is an attempt at hegemony and nostalgia for power to control the Polaris in space.<\/span><\/p>\n

The second film is <\/span>Imaginary Futures: Tourism<\/span><\/i> (2022) directed by <\/span>Darko Fritz<\/b>, produced in Croatia. The film uses archives and 3D digital imagery to realize a vision of a city concept in Yugoslavia that was created as a symbol of cooperation between non-aligned countries. The city resembles a human body with various parts intended as a place for artists to exhibit their work. Darko Fritz’s fusion of digital and archival imagery creates a tragic story of utopia lost in the post-Cold War geopolitics.<\/span><\/p>\n

The third film is <\/span>An Asian Ghost Story<\/span><\/i> (2023) directed by <\/span>Bo Wang<\/b>, produced in the Netherlands, Hong Kong and China. The film explores the problem of Hong Kong’s political condition, which is between two ideologies, from the point of view of ghosts and the problem of the Asian wig trade. The film also uses jokes to read the conditions of the post-Cold War era by using some fictional scenes: a researcher who makes a device to communicate with ghosts through hair and an interview with a <\/span>Kuntilanak<\/span><\/i> (ghost) trapped in Hong Kong.<\/span><\/p>\n

Beginning with the radical policy of banning hair imports from Communist China by the United States by categorizing hair as Communist and non-Communist, the film shows the lasting influence of Cold War-era policies in Hong Kong, whether from the perspective of its own citizens or immigrants (<\/span>Kuntilanak<\/span><\/i>). It shows the polemic of today’s Hong Kong determining its fate under the shadow of the Mainland Chinese Communist Party and the United States.<\/span><\/p>\n

The fourth film is <\/span>Taxibol<\/span><\/i> (2023) directed by <\/span>Tommaso Santambrogio<\/b>, produced in Cuba and Italy. The film depicts the problem of historical trauma and how cinema can portray the perspective of an event by using the contrast between two poles: Lav Diaz, a legendary Filipino filmmaker who made many works themed on the Marcos regime and its effects on the Philippines today, and Juan Mijares Cruz, a former general and close colleague of Marcos who fled to Cuba after the Marcos regime collapsed.\u00a0<\/span><\/p>\n

The film begins with a conversation in a taxi, Lav Diaz with a Cuban taxi driver, to the life of the exile general who lives in trauma but also still uses violence to control those around him, like the animals he breeds. Taxibol shows the long-term problems of dictatorial regimes in the third world that were “constructed” by the superpowers in the Cold War era, and a country that is still trapped in denial and amnesia of its own historical trauma.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”12224,12225,12226,12227″ img_size=”full”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Pada tanggal 28 September 2023 sesi penayangan untuk Kompetisi Internasional 7 dengan tajuk kuratorial Polaris atau Bintang Kutub diputar di […]<\/p>\n","protected":false},"author":162,"featured_media":12227,"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":[658,384,1,344],"tags":[652,653],"jetpack_publicize_connections":[],"yoast_head":"\nInternational Competition 7: Gossip and Jokes about Opposing Poles — 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\/ic-07-noli-me-tangere\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"International Competition 7: Gossip and Jokes about Opposing Poles — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Kompetisi Internasional 7: Gosip dan Lelucon tentang Dua Kutub yang Berseberangan” css=”.vc_custom_1696135526940{margin-bottom: 0px !important;}”]Festival filem ARKIPEL Noli Me Tangere \u2013 10th Jakarta International Documentary and Experimental Film Festival masih terus berlanjut. 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