{"id":12236,"date":"2023-10-01T15:05:36","date_gmt":"2023-10-01T08:05:36","guid":{"rendered":"https:\/\/arkipel.org\/?p=12236"},"modified":"2023-10-01T15:05:36","modified_gmt":"2023-10-01T08:05:36","slug":"ic-04-noli-me-tangere","status":"publish","type":"post","link":"https:\/\/arkipel.org\/ic-04-noli-me-tangere\/","title":{"rendered":"Notes on International Competition 04: Eyes, City, and the Poet"},"content":{"rendered":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Catatan Kompetisi Internasional 04: Mata, Kota dan Penyair” css=”.vc_custom_1696147331353{margin-bottom: 0px !important;}”]ARKIPEL <\/span>Noli Me Tangere \u2013 10th Jakarta International Documentary and Experimental Film Festival <\/span><\/i>terus menayangkan filem kompetisi internasionalnya pada Jumat, 29 September, pukul 14.00 WIB. <\/span>Wahyu Budiman Dasta<\/b> menyuguhkan dua filem dalam kuratorial berjudul <\/span>Mata, Kota, dan Penyair<\/span><\/i>. Dengan interpretasi bahasa Inggris oleh <\/span>Dini Adanurani<\/b>, Wahyu membuka pemutarannya dengan memperkenalkan kita pada filem-filem tersebut dan kata pengantar singkat tentang apa yang diwakili oleh filem-filem tersebut. Ia mengatakan bahwa filem-filem ini mengingatkannya pada bagaimana foto-foto dari masa lalu telah terwujud dalam keabadian, dan bagaimana orang-orang menceritakan kisah yang pada akhirnya terlupakan dan tidak diketahui, untuk mengungkapkan makna yang lebih dalam dari apa yang ada di permukaan.<\/span><\/p>\n

Pemutaran dimulai dengan filem <\/span>Hollow<\/span><\/i> karya <\/span>Mohammad Reza Farzad<\/b>, merupakan esai yang mengamati perjalanan hidup dan mati di Iran. <\/span>Hollow<\/span><\/i> menampilkan banyak pengambilan gambar dari dalam interior ke luar, dan membawa pemirsa dari desa kuno Meymand, ke penjara yang diubah menjadi museum, kemudian kompleks apartemen bertingkat, dan berakhir di pemakaman terbesar di Teheran. <\/span>Hollow<\/span><\/i> menciptakan puisi dalam format video melalui penggunaan gambar yang kuat, menemukan makna dalam penjajaran gambarnya.<\/span><\/p>\n

Filem berikutnya, <\/span>Ritual, Belahan IV: Bauran<\/span><\/i> yang disutradarai oleh <\/span>Robby Oktavian,<\/b> membawa penonton dalam perjalanan melintasi kota Samarinda. Filem ini membawa penonton dari gedung-gedung yang terbengkalai, melewati hutan, sungai, dan pusat kota, sementara suara-suara penghuninya saling bertumpukan. <\/span>Ritual, Belahan IV: Bauran<\/span><\/i> pada dasarnya adalah sebuah kolase tentang kota, dan seperti filem sebelumnya, menciptakan makna melalui penjajaran gambar dan lokasi yang kuat.<\/span><\/p>\n

Pemutaran filem dilanjutkan dengan diskusi tentang <\/span>Ritual, Belahan IV: Bauran<\/span><\/i> dengan sutradara Robby Oktavian, dimoderatori oleh Wahyu dan diterjemahkan ke dalam bahasa Inggris oleh Dini. Robby menjelaskan latar belakang filemnya, dengan menyatakan bahwa filem tersebut merupakan bagian keempat dari lima seri filem yang menafsirkan novel <\/span>Upacara<\/span><\/i> karya <\/span>Korrie Layun Rampan<\/b>, seorang penulis asal Samarinda. Dengan masing-masing bagian merespons lima bab novel, <\/span>Bauran<\/span><\/i> mewakili bab keempat, bab paling kompleks dalam novel tersebut. Kompleksitas ini direpresentasikan dalam presentasi layar lebar, sedangkan bab-bab lainnya diambil secara vertikal. Dengan bab-bab yang diambil secara vertikal mewakili sudut pandang novelnya yang sangat pribadi.<\/span><\/p>\n

Menurut Robby, ia ingin membuat kolase filem yang mewakili Samarinda secara keseluruhan. Ia ingin menciptakan kembali desain kota Samarinda yang tambal sulam dan berantakan serta tata kota yang ahistoris. Ketika ditanya oleh tamu festival <\/span>Ali Aladawy<\/b> tentang bagaimana filemnya menggunakan kembali filem-filem sebelumnya atau menciptakan bahasa visualnya sendiri ketika menggambarkan pemandangan kota, Robby menegaskan kembali pilihannya dan tim untuk menggunakan format layar lebar untuk menceritakan kembali kisah kota Samarinda.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1672356843702-2655322e-0974″][vc_column_text title=”Notes on International Competition 04: Eyes, City, and the Poet” css=”.vc_custom_1696147355268{margin-bottom: 0px !important;}”]ARKIPEL <\/span>Noli Me Tangere – 10th Jakarta International Documentary and Experimental Film Festival<\/span><\/i> continues to screen its international competition films on Friday, September 29, at 14.00 pm. <\/span>Wahyu Budiman Dasta<\/b> presents two films in the curatorial program entitled <\/span>Eyes, City, and Poet<\/span><\/i>. With English interpretation by <\/span>Dini Adanurani<\/b>, Wahyu opens the screening by introducing us to the films and a brief introduction to what the films represent. He said that the films reminded him of how photographs from the past have materialized into eternity, and how people tell stories that are ultimately forgotten and unknown, to reveal a deeper meaning than what is on the surface.\u00a0<\/span><\/p>\n

The screening began with <\/span>Mohammad Reza Farzad<\/b>‘s <\/span>Hollow<\/span><\/i>, an essay that examines the journey of life and death in Iran. <\/span>Hollow<\/span><\/i> features many shots from inside the interior to outside, and takes the viewer from the quaint village of Meymand, to a prison-turned-museum, then an apartment complex, and ends at Tehran’s largest cemetery. Hollow creates poetry in video format through the use of powerful images, finding meaning in the alignment of its images.<\/span><\/p>\n

The next film, <\/span>Ritual, Part IV: The Blend<\/span><\/i> directed by <\/span>Robby Oktavian<\/b>, takes the audience on a journey through the city of Samarinda. The film takes the audience from abandoned buildings, through forests, rivers, and the city center, while the voices of its inhabitants overlap. <\/span>Ritual, Part IV: The Blend<\/span><\/i> is essentially a collage about the city, and like the previous film, creates meaning through the juxtaposition of strong images and locations.<\/span><\/p>\n

The screening was followed by a discussion about <\/span>Ritual, Part IV: The Blend<\/span><\/i> with director Robby Oktavian, moderated by Wahyu and translated into English by Dini. Robby explained the background of his film, stating that the film is the fourth part of a five-film series interpreting the novel <\/span>Upacara<\/span><\/i> by <\/span>Korrie Layun Rampan<\/b>, a writer from Samarinda. With each part responding to the five chapters of the novel, <\/span>The Blend<\/span><\/i> represents the fourth, most complex chapter in the novel. This complexity is represented in a widescreen presentation, while the other chapters are taken vertically. With the chapters taken vertically, it represents the highly personal point of view of the novel.\u00a0\u00a0<\/span><\/p>\n

Robby said he wanted to create a collage of films that represented Samarinda as a city. He wanted to recreate Samarinda’s patchy and messy urban design and ahistorical city planning. When asked by festival guest <\/span>Ali Aladawy<\/b> about how his film reused previous films or created its own visual language when depicting the cityscape, Robby emphasized his and the team’s choice to use the widescreen format to retell the story of Samarinda.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”12238,12239″ img_size=”full”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Dengan interpretasi bahasa […]<\/p>\n","protected":false},"author":172,"featured_media":12238,"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":"\nNotes on International Competition 04: Eyes, City, and the Poet — 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-04-noli-me-tangere\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Notes on International Competition 04: Eyes, City, and the Poet — 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=”Catatan Kompetisi Internasional 04: Mata, Kota dan Penyair” css=”.vc_custom_1696147331353{margin-bottom: 0px !important;}”]ARKIPEL Noli Me Tangere \u2013 10th Jakarta International Documentary and Experimental Film Festival terus menayangkan filem kompetisi internasionalnya pada Jumat, 29 September, pukul 14.00 WIB. 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Dia lulusan jurusan film tahun 2021 di Binus University. Pada tahun 2019 dia mulai mengikuti kegiatan Forum Lenteng sebagai partisipan program Milisifilem. Selain itu dia aktif di skena film Indonesia dan bekerja di microcinema Kinosaurus. -- Panji Anggira is an artist and writer from Jakarta. He graduated from film major in 2021 at Binus University. In 2019 he started participating in Forum Lenteng activities as a Milisifilem program participant. In addition, he is active in the Indonesian film scene and works at Kinosaurus microcinema.","url":"https:\/\/arkipel.org\/people\/panjianggira\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2023\/10\/p1540576-scaled.jpg?fit=2560%2C1441&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-3bm","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/12236"}],"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\/172"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=12236"}],"version-history":[{"count":2,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/12236\/revisions"}],"predecessor-version":[{"id":12240,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/12236\/revisions\/12240"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/12238"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=12236"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=12236"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=12236"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}