{"id":12271,"date":"2023-10-07T15:36:27","date_gmt":"2023-10-07T08:36:27","guid":{"rendered":"https:\/\/arkipel.org\/?p=12271"},"modified":"2023-10-07T15:36:27","modified_gmt":"2023-10-07T08:36:27","slug":"monographs-noli-me-tangere","status":"publish","type":"post","link":"https:\/\/arkipel.org\/monographs-noli-me-tangere\/","title":{"rendered":"Monographs: Revisiting Memory Recontextualizing Reality"},"content":{"rendered":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Monographs: Mengunjungi Kembali Memori Mengkontekstualisasikan Kembali Realitas” css=”.vc_custom_1696667742213{margin-bottom: 0px !important;}”]Viknesh Kobinathan <\/b>menyajikan Monograf, sebuah program oleh Asian Film Archive (AFA) berisi tujuh esai video untuk merespon perubahan lanskap geologi dan sosial politik. Video-video esai ini menunjukkan pergeseran wujud lanskap dalam kurun waktu tertentu melalui representasinya di berita, media populer, atau ingatan sang sineas. Masing-masing sineas menunjukkan persoalan iklim dan lingkungan yang merembes ke dalam kehidupan masyarakat di sekitarnya, juga bagaimana imaji alam dibentuk oleh para manusia, mengabur dan berubah seiring waktu, dan kemudian terbentuk kembali lewat imaji yang baru.<\/span><\/p>\n

mmm<\/span><\/i> oleh <\/span>Chiemi Shimada <\/b>membawa kita napak tilas sinema Jepang dari 1920-an hingga saat ini. Esai video ini dibuka dengan sosok awan di langit, bentuknya yang berubah-ubah, dan wujudnya yang hilang oleh angin. Di sini, langit dan awan yang biasanya menjadi pemanis latar bertukar posisi dengan para aktor yang umumnya menjadi perhatian. Terletak di latar, awan ini seakan ditarik maju ke depan. Awan menjadi aktor utama walau\u00a0 posisinya masih tetap di belakang.<\/span><\/p>\n

Ian Wang<\/b> menampilkan montase usaha \u201cpenjinakan\u201d sungai Yangtze lewat esai videonya, <\/span>Swimming, Dancing<\/span><\/i>. Ia membangkitkan kontradiksi antar representasi sungai Yangtze oleh politisi dan penyair dengan tangkapan bencana alam yang disebabkan oleh sungai tersebut.\u00a0 Saat penyair melantunkan keindahan, film ini<\/span> menampilkan Yangtze yang wujudnya berubah akibat polusi. Setelah Mao Zedong memamerkan penaklukannya akan Yangtze, muncul tangkapan longsor, banjir, dan kerusakan lingkungan Yangtze yang bergejolak. Sungai Yangtze menolak direduksi hanya sebagai sebuah simbol dan seakan terus menegaskan keberadaannya mengikuti perubahan lanskap China yang semakin modern dan terindustrialisasi.<\/span><\/p>\n

Precious. Rare. For Sale. <\/span><\/i>oleh<\/span> Le\u0302na Bu\u0300i <\/b>memperkenalkan kita wujud alam di Vietnam. Pertama kali lewat faunanya, lalu lewat imaji kepahlawanan, hingga eksploitasi akan dirinya. Rentetan kejadian yang menggerayangi hutan-hutan dan sungai-sungai ditunjukkan kepada penonton. Sungai yang dulunya merupakan situs ekologi yang kompleks sekarang menunjukkan cuplikan kepunahan. Hutan-hutan yang imajinya digunakan untuk memperkuat pesan nasionalisme lewat filem-filem dibabat habis setelah tren genre tersebut menurun. Penggunaan media sosial yang menyorot kembali wujud alam yang asri ternyata juga merupakan bentuk eksploitasi, sebagai penambah kapital dalam artian uang juga kapital sosial<\/span>.<\/span><\/i> Pengerukan sumber dayanya yang dahulu dilakukan oleh industri sekarang juga dilakukan dalam skala individual. Fauna-fauna eksotis ditangkap, tanaman-tanaman dicabut sebagai lalapan. Prosesnya terus direkam lalu disebarluaskan sebagai bentuk konsumsi hiburan baru. Rasa ingin tahu dan keacuhan menjadi satu. Untuk apa melestarikan alam agar bisa terus merasakan manfaatnya jika lewat layar wujudnya selalu asri dan eksotis.<\/span><\/p>\n

Apat <\/span><\/i>oleh <\/span>Nazira Karimi<\/b> membawa kita ikut merenungkan bagaimana cara mendapatkan kembali bagian diri yang sebelumnya tidak pernah kita alami. Visual-visual penghapusan kebudayaan, arsip kenangan keluarga, dan kerusakan alam di-<\/span>superimposed<\/span><\/i> dengan satu kosakata bahasa Kazakh yang mewakili perasaan Nazira Karimi.<\/span> Sebuah bentuk konservasi bahasa dan budaya yang terpantik dari pengalaman pribadinya yang semasa kecil tidak bertutur kata dengan bahasa ibu melainkan bahasa Rusia.<\/span><\/p>\n

In The Forest One Thing Can Look Like Another <\/span><\/i>Priyanka Chhabra <\/b>membanjiri isi kepala dengan nostalgia terutama bagi orang Indonesia yang dulu sering menonton <\/span>Bollywood <\/span><\/i>lewat televisi. Cuplikan-cuplikan koreografi tari berlatar hutan dan pegunungan membangkitkan aura ceria nan magis. Namun, perlahan-lahan kita diperkenalkan lebih dalam. Hutan yang lewat layar televisi seakan berada di antah berantah sekarang diketahui lokasinya, pegunungan glasial di Manali. Tampilan-tampilan alam yang sebelumnya direduksi menjadi latar filem diingatkan kembali kompleksitasnya. Bagian-bagian yang tidak pernah ditunjukkan dalam gairah romantisme dan keceriaan <\/span>Bollywood<\/span><\/i> diperlihatkan. Oleh esai video ini, konstruksi realita mengenai Manali oleh media populer diruntuhkan dan kemudian diperlihatkanlah\u00a0 realita yang seutuhnya.<\/span><\/p>\n

Gunung<\/span> menjadi destinasi pelarian yang malah memberi sensasi sesak di <\/span>The Landscape of Sanatoriums<\/span><\/i> oleh<\/span> Radhamohini Prasad. <\/b>Rasa tidak nyaman dibangkitkan lewat lanskap gunung yang makin lama makin ramai, kejompoan menguar dari gedung bioskop tua yang mulai runtuh, dan nestapa seakan melengkapi segala ketidakenakan yang muncul dari sajian montase-montase visual. Esai video eksperimental ini membalikkan seluruh rasa menenangkan yang seharusnya muncul dari tempat yang\u00a0 digemakan sebagai lokasi\u00a0 \u201cpenyembuhan\u201d.<\/span><\/p>\n

Zimu Zhang <\/b>dalam <\/span>Letter to T: in Nuclearity, we are connected <\/span><\/i>bertutur perihal kita semua yang terhubung sejak penciptaan teknologi apokaliptik, bom nuklir. Melalui suratnya ia menceritakan pembentukan mitos penciptaan visual bom nuklir di Tiongkok. Mulai dari arsip video hingga CGI dalam film kontemporer, visualisasi tersebut kerap dikemas ulang dan mengalami iterasi yang terus berusaha \u201cmenyempurnakan\u201d daya tarik senjata pemusnah kemanusiaan. Zimu Zhang sepanjang surat terus membongkar imaji-imaji dalam media\u00a0 populer yang tidak sesuai realita. Hal yang lebih penting adalah pengungkapkan bahwa arsip dokumentasi yang menjadi titik referensi dari seluruh filem-filem tersebut ternyata adalah hasil reka ulang juga.<\/span><\/p>\n

Selain tujuh esai video di atas, terdapat juga enam esai tertulis yang menjadi bagian dari Monograf. Tulisan-tulisan tersebut dapat diakses langsung di asianfilmarchive.org<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1672356843702-2655322e-0974″][vc_column_text title=”Monographs: Revisiting Memory Recontextualizing Reality” css=”.vc_custom_1696667750896{margin-bottom: 0px !important;}”]Viknesh Kobinathan<\/b> presents Monograph, a program by Asian Film Archive (AFA) of seven video essays responding to changing geological and socio-political landscapes. These video essays show how landscapes have shifted over time through their representation in the news, popular media, or the filmmaker’s memory. Each filmmaker shows how climate and environmental issues permeate the lives of the people around them, as well as how images of nature are constructed by humans, blurred and changed over time, and then reconstructed through new images.<\/span><\/p>\n

mmm<\/span><\/i> by <\/span>Chiemi Shimada<\/b> takes us through Japanese cinema from the 1920s to the present day. The video essay opens with the clouds in the sky, its changing shape, and its disappearance in the wind. Here, the sky and clouds that usually serve as background sweeteners switch positions with the actors who are generally the center of attention. Located in the background, the clouds seem to be pulled forward. The clouds become the main actors even though they are still in the background.<\/span><\/p>\n

Ian Wang<\/b> presents a montage of the attempts to “tame” the Yangtze river through his video essay <\/span>Swimming, Dancing<\/span><\/i>. He evokes the contradiction between the representations of the Yangtze river by politicians and poets and the capture of the natural disasters caused by the river.\u00a0 While poets sing of its beauty, the movie shows the Yangtze as it is transformed by pollution. After Mao Zedong showed off his conquest of the Yangtze, there were images of landslides, floods, and environmental degradation of the turbulent Yangtze river. The Yangtze river refuses to be reduced to a mere symbol and continues to assert its existence as China’s increasingly modern and industrialized landscape changes.<\/span><\/p>\n

Precious. Rare. For Sale<\/span><\/i>. by <\/span>L\u00eana B\u00f9i<\/b> introduces us to nature in Vietnam. First through its fauna, then through heroic imagery, to the exploitation of her. A series of events that encroach on the forests and rivers are shown to the audience. The river that was once a complex ecological site now shows a snapshot of extinction. The forests whose imagery was used to reinforce messages of nationalism through films were cleared after the genre’s decline. The use of social media to highlight the beautiful natural world is also a form of exploitation, as an enhancement of capital in terms of money as well as social capital. The dredging of its resources that was once done by industry is now also done on an individual scale. Exotic fauna are captured, plants are uprooted as vegetables. The process is continuously recorded and then disseminated as a new form of entertainment consumption. Curiosity and ignorance become one. There is no need to preserve nature so that we can continue to benefit from it if it is always beautiful and exotic on screen.<\/span><\/p>\n

Apat<\/span><\/i> by <\/span>Nazira Karimi<\/b> makes us contemplate how to reclaim a part of ourselves that we never experienced before. Visuals of cultural erasure, family memory archives, and natural destruction are superimposed with a Kazakh vocabulary that represents Nazira Karimi’s feelings. It is a form of language and cultural conservation that is triggered by her personal experience of not speaking her mother tongue as a child but Russian.<\/span><\/p>\n

Priyanka Chhabra<\/b>‘s <\/span>In The Forest One Thing Can Look Like Another<\/span><\/i> floods our heads with nostalgia, especially for Indonesians who used to watch Bollywood on television. Snippets of dance choreography set in forests and mountains evoke a cheerful and magical aura. However, we are slowly being introduced to more. The forest that seemed to be in the middle of nowhere on the television screen is now known to be located in the glacial mountains of Manali. Views of nature that were previously reduced to a film setting are reminded of their complexity. The parts that were never shown in the romanticized passion and playfulness of Bollywood are shown. In this video essay, the popular media’s construction of Manali’s reality is broken down and the full reality is shown.<\/span><\/p>\n

The mountain becomes an escape destination that gives a claustrophobic sensation in <\/span>The Landscape of Sanatoriums<\/span><\/i> by <\/span>Radhamohini Prasad<\/b>. A sense of unease is evoked through the increasingly crowded mountain landscape, claustrophobia emanates from the crumbling old movie theater, and desolation seems to complete all the unpleasantness that emerges from the visual montages. This experimental video essay reverses the whole sense of calm that is supposed to emerge from a place that is heralded as a “healing” location.<\/span><\/p>\n

Zimu Zhang<\/b> in <\/span>Letter to T: in Nuclearity, we are connected<\/span><\/i> talks about how we are all connected since the creation of the apocalyptic technology, the nuclear bomb. Through her letter, she recounts the formation of the myth of the visual creation of nuclear bombs in China. From video archives to CGI in contemporary films, the visualization is often repackaged and undergoes iterations that continue to “perfect” the appeal of weapons of destruction of humanity. Throughout the letter, Zimu Zhang continues to expose images in popular media that do not represent reality. What is more important is the revelation that the archival documentation that is the reference point of all these films is also a re-creation.<\/span><\/p>\n

In addition to the seven video essays above, there are also six written essays that are part of the Monograph. The writings can be accessed directly at asianfilmarchive.org<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”12273,12274,12275,12276″ img_size=”full”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Video-video esai ini menunjukkan pergeseran wujud lanskap dalam kurun waktu tertentu melalui representasinya di berita, media populer, atau ingatan […]<\/p>\n","protected":false},"author":171,"featured_media":12275,"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":[658,384,1,349],"tags":[652,653],"jetpack_publicize_connections":[],"yoast_head":"\nMonographs: Revisiting Memory Recontextualizing Reality — 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\/monographs-noli-me-tangere\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Monographs: Revisiting Memory Recontextualizing Reality — 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=”Monographs: Mengunjungi Kembali Memori Mengkontekstualisasikan Kembali Realitas” css=”.vc_custom_1696667742213{margin-bottom: 0px !important;}”]Viknesh Kobinathan menyajikan Monograf, sebuah program oleh Asian Film Archive (AFA) berisi tujuh esai video untuk merespon perubahan lanskap geologi dan sosial politik. 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