{"id":12278,"date":"2023-10-07T16:14:13","date_gmt":"2023-10-07T09:14:13","guid":{"rendered":"https:\/\/arkipel.org\/?p=12278"},"modified":"2023-10-07T16:14:13","modified_gmt":"2023-10-07T09:14:13","slug":"sp-minke-project-noli-me-tangere","status":"publish","type":"post","link":"https:\/\/arkipel.org\/sp-minke-project-noli-me-tangere\/","title":{"rendered":"Milisifilem Collective: The Minke Project – Reiteration of the Buru Tetralogy, Impression not Narrative"},"content":{"rendered":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Milisifilem Collective: Proyek Minke \u2013 Reiterasi Tetralogi Buru, Impresi bukan Narasi” css=”.vc_custom_1696669360338{margin-bottom: 0px !important;}”]Hari terakhir <\/span>ARKIPEL <\/span>Noli Me Tangere \u2013 10th Jakarta International Documentary and Experimental Film Festival<\/span><\/i>, dimulai dengan persembahan dari Milisifilem Collective generasi keenam, Edelweiss. <\/span>Otty Widasari<\/b> selaku kurator membuka pemutaran dengan mengenalkan Milisifilem Collective dan Proyek Minke. Proyek Minke, sebuah proyek longitudinal di mana setiap anggota Milisifilem melakukan adaptasi sastra Tetralogi Pulau Buru karya <\/span>Pramoedya Ananta Toer <\/b>menjadi karya visual<\/span> berwujud<\/span> filem. <\/span>Ali Satri Effendi<\/b>, <\/span>Helmi Yusron,<\/b>\u00a0 dan <\/span>Van Luber Parensen<\/b> adalah tiga pujangga Edelweiss yang mentransfer pengalaman-pengalaman indrawi Minke dalam bentuk tulisan ke sebuah cermin layar perak.\u00a0<\/span><\/p>\n

Ali Satri Efendi<\/span> \u00a0melalui karyanya <\/span>Peta Gula<\/span><\/i>, menampilkan wujud perkebunan tebu di masa kini berikut sejarahnya di masa lampau. Ali<\/span> berusaha membangkitkan ingatan mengenai Glebagan, sebuah sistem penanaman tebu di masa kolonial yang tidak adil dan menimbulkan banyak pergolakan. Namun, bukan ingatan kita dibangkitkan, <\/span>tangkapan visualnya mendekap kita, melebur kepada penonton ke dalam tekstur-tekstur tumbuhan dan cahaya matahari. Merasakan belaian daun di kulit, peluh di dahi, hangat matahari di sekujur tubuh. Filem ini membangkitkan pengalaman Minke, ingatan Minke, tangkapan bola mata Minke saat pertama kali mencari tahu wujud bangsanya dan wajah asli pemerintahan kolonial.<\/span><\/p>\n

Kita terlempar ke masa hidup Minke yang baru. Dirinya adalah orang yang sangat penting sekarang, melawan kebijakan kolonial lewat surat kabar miliknya, menjadikannya sosok yang berbahaya bagi pemegang kuasa. Para pemegang kuasa yang tidak ingin digulingkan mulai waspada terhadap Minke. Mereka pun memata-matai diri Minke dan orang-orang yang berjiwa serupa. Begitu kurang lebih kronik hidup Minke dalam buku Rumah Kaca. <\/span>Kulihat Kau Lihat Dia <\/span><\/i>oleh <\/span>Helmi Yusron<\/span> menghasilkan<\/span> sebuah pengalaman <\/span>visceral<\/span><\/i>. <\/span>\u00a0<\/i><\/b>Ia tidak menyuguhkan ulang rangkaian narasi kejadian yang dilakukan oleh tokoh Pagemanann terhadap Minke dan sejawatnya. Helmi mentransformasi ruang pemutaran\u00a0 dan\u00a0 menggeser subjek pengawasan. Ruang bioskop adalah rumah kaca, penonton adalah Minke, dan Helmi Yusron<\/span> lah Pangemanann-nya.<\/span><\/p>\n

Kita kembali menelusuri ruang waktu, menuju masa muda Minke. <\/span>Pipit di Tengah Badai <\/span><\/i>adalah reiterasi konflik batiniah Minke akan perjuangan dan kebangsaan sejak kedatangan surat dari Miriam de la Croix, yang disimulasikan Van Luber Parensen<\/span> lewat kesendirian, rasa terisolasi, dan jukstaposisi tua-muda juga alam-modernitas. Luber menegaskan bukan hanya seberapa pentingnya perjuangan tersebut namun juga seberapa penting ingatan kita tentang perjuangan itu. Masa kini dan masa lampau berpisah-lebur dalam filemnya. Surat Miriam menceritakan permasalahan di awal abad 19, namun permasalahan tersebut tidak jauh berbeda dengan yang sedang terjadi sekarang. Apakah Miriam de la Croix berbicara kepada Minke atau kita? Pertanyaan ini tidak dijawab dalam filem. Secara keseluruhan, Luber mengguyur perasaan Minke kepada penonton lewat atmosfer filemnya yang sunyi sekaligus memantik isi kepala lewat kutipan Miriam tentang Minke, tentang para pejuang kebangsaan, dan tentang kita penerus mereka.\u00a0<\/span><\/p>\n

Dalam filem ketiga pujangga ini, mereka tidak berniat menutur ulang Tetralogi Pulau Buru lewat narasi melainkan impresi. Mereka tidak berusaha memindahkan isi dan alur ke medium visual. Mereka menyuguhkan impresi, sebuah kesan mengalami. Tidak menyebutkan kronologi kejadian yang dialami Minke, namun langsung menempatkan penonton dalam posisi Minke. Membawa penonton merasakan langsung sosok Minke dan ruh<\/span> perjuangannya, tidak tercerabut atau mereduksinya menjadi subjek observasi dari luar sebagai bahan konsumsi media hiburan saja<\/span>.<\/span><\/i><\/p>\n

Setelah pemutaran selesai, dibuka sesi diskusi dengan para sineas yang dipandu oleh Otty Widasari. <\/span>Jihan Elfahri <\/b>memberikan dua pertanyaan. Pertama, ia menanyakan alasan penggunaan warna hitam putih. Otty Widasari<\/span> mewakili para sineas menjelaskan bahwa filem-filem ini sebagai wujud tugas terakhir setelah proses enam bulan pembelajaran dan selama pembelajaran tersebut memang hanya menggunakan hitam putih di dalam kurikulumnya. Otty juga menjelaskan lebih dalam tentang kurikulum pembelajaran tersebut. Kemudian, Jihan Elfahri<\/span> menanyakan apa yang mendasari keputusan kreatif dan proses konstruksi masing-masing filem. Ketiga sineas dan<\/span> Otty Widasari<\/span> memaparkan proses konstruksi dan adaptasi, di mana masing-masing dari mereka memilih kutipan dari buku yang dianggap menarik lalu menjadikannya sebagai filem. Van Luber Parensen<\/span> mengungkapkan bahwa dalam pembuatan <\/span>Pipit di Tengah Badai <\/span><\/i>yang merupakan filem pertamanya, ia baru pertama kali melakukan proses adaptasi filem yang materinya dibedah lewat tabel <\/span>excel<\/span><\/i>, menggambarkan lebih jelas wujud filemnya yang berbasis surat Miriam de la Croix. Ali Satri Efendi<\/span> merelasikan pengalamannya dalam kelas Milisifilem terutama tentang sejarah seni rupa Barat. Ia teringat akan <\/span>Situationist International, para pelaku seni berjalan ke suatu tempat tanpa tujuan dan arah, serupa dengan Minke yang pada saat itu baru pertama kali ke daerah perkebunan tebu, begitu pula tangkapan visual di <\/span>Peta Gula<\/span><\/i>. <\/span>\u00a0Dalam filem <\/span>Kulihat Kau Lihat Dia<\/span><\/i> yang hanya menggunakan fotografi, <\/span>Helmi Yusron<\/span> menjawab, bahwa dalam Tetralogi, Minke selalu terpesona dengan kemajuan teknologi seperti sepeda, kereta uap, dan terutama fotografi. Ia memutuskan untuk hanya menggunakan foto agar bisa lebih dekat dan lebih akurat dalam merepresentasikan Minke juga zamannya.\u00a0<\/span><\/p>\n

Ali Aladawy<\/strong> lalu bertanya apakah proses konstruksi yang demikian malah menyulitkan atau menginspirasi mereka dalam mengadaptasi karya sastra. Van Luber Parensen<\/span> memberikan \u201cya\u201d dan \u201ctidak\u201d sebagai jawabannya, \u201ciya\u201d menyulitkan karena proses seleksi dan konstruksi dari bahan yang begitu banyak namun menjadi menantang dan menyenangkan. Ali Satri Efendi <\/span>menanggapi, bahwa materi adaptasi yang berasal dari empat buku yang masing-masing kurang lebih 500 halaman tentu memberikan banyak informasi.<\/span> Helmi<\/span> Yusron<\/span> bertutur bahwa semua tergantung ketajaman menganalisis kutipan, semakin tajam analisis yang digunakan maka akan semakin banyak inspirasi yang muncul kemudian. Diskusi ini menutup rangkaian pemutaran filem di ARKIPEL <\/span>Noli Me Tangere \u2013 10th Jakarta International Documentary and Experimental Film Festival <\/span><\/i>\u00a0pada tahun 2023.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1672356843702-2655322e-0974″][vc_column_text title=”Milisifilem Collective: The Minke Project – Reiteration of the Buru Tetralogy, Impression not Narrative” css=”.vc_custom_1696669398983{margin-bottom: 0px !important;}”]The last day of ARKIPEL <\/span>Noli Me Tangere – 10th Jakarta International Documentary and Experimental Film Festival<\/span><\/i>, began with a presentation from the sixth generation of Milisifilem Collective, Edelweiss. <\/span>Otty Widasari<\/b> as the curator opened the screening by introducing Milisifilem Collective and the Minke Project. Project Minke, a longitudinal project in which each member of Milisifilem adapted <\/span>Pramoedya Ananta Toer<\/b>‘s Tetralogy of Buru Island into a visual film. <\/span>Ali Satri Effendi<\/b>, <\/span>Helmi Yusron<\/b>, and <\/span>Van Luber Parensen<\/b> are the three Edelweiss artists who transfer Minke’s sensory experiences in written form to the mirror of the silver screen.<\/span>\u00a0<\/span><\/p>\n

Ali Satri Efendi, through his work <\/span>Peta Gula<\/span><\/i>, presents the present-day sugarcane plantation and its history in the past. Ali tries to evoke memories of Glebagan, a sugarcane planting system during the colonial era that was unfair and caused a lot of upheaval. However, instead of our memories being evoked, his visual captures embrace us, immersing the viewer into the textures of the plants and the sunlight. Feeling the caress of the leaves on the skin, the sweat on the forehead, the warmth of the sun all over the body. The movie evokes Minke’s experiences, Minke’s memories, Minke’s eyeballs when he first discovered the shape of his people and the true face of colonial rule.<\/span><\/p>\n

We are thrown into a new time in Minke’s life. He is a very important person now, fighting colonial policies through his newspaper, making him a dangerous figure for the power holders. Those in power who do not want to be overthrown are wary of Minke. They spied on Minke and others like him. This is more or less the chronicle of Minke’s life in <\/span>Rumah Kaca<\/span><\/i>. <\/span>Kulihat Kau Lihat Dia<\/span><\/i> by Helmi Yusron produces a visceral experience.\u00a0 He does not represent the narrative series of events perpetrated by the character Pagemanann against Minke and his colleagues. Helmi transforms the screening room and shifts the subject of surveillance. The cinema room is the glass house, the audience is Minke, and Helmi Yusron is the Pangemanann.<\/span><\/p>\n

We travel back through time, to Minke’s youth. <\/span>Pipit di Tengah Badai<\/span><\/i> is a reiteration of Minke’s inner conflict of struggle and nationhood since the arrival of the letter from Miriam de la Croix, which Van Luber Parensen simulates through solitude, isolation, and the juxtaposition of old-young and nature-modernity. Luber emphasizes not only how important the struggle was but also how important our memory of it is. The present and the past merge in his film. Miriam’s letter recounts the problems of the early 19th century, but they are not so different from what is happening now. Is Miriam de la Croix speaking to Minke or us? This question is not answered in the film. Overall, Luber showcases Minke’s feelings to the audience through the quiet atmosphere of the film, while at the same time triggering thoughts through Miriam’s quotes about Minke, about the patriots, and about us, their successors.\u00a0<\/span><\/p>\n

In the films of these three poets, they do not intend to retell the Tetralogy of Buru Island through narration but impressions. They do not try to transfer content and plot to the visual medium. They present an impression, an impression of experience. Not mentioning the chronology of events experienced by Minke, but directly putting the audience in Minke’s position. Bringing the audience to feel the figure of Minke and the spirit of his struggle, not uprooted or reduced to a subject of observation from the outside as material for entertainment media consumption only.<\/span><\/p>\n

After the screening, a discussion session with the filmmakers was opened, hosted by Otty Widasari. <\/span>Jihan Elfahri<\/b> asked two questions. First, she asked the reason for using black and white. Otty Widasari, on behalf of the filmmakers, explained that these films were a form of final assignment after a six-month learning process and during the learning process only black and white was used in the curriculum. Otty also explained more about the learning curriculum. Then, Jihan Elfahri asked what underlies the creative decisions and construction process of each film. The three filmmakers and Otty Widasari explained the process of construction and adaptation, where each of them chose a quote from a book that was considered interesting and then made it into a film. Van Luber Parensen revealed that in making <\/span>Pipit di Tengah Badai<\/span><\/i>, which was his first film, it was the first time he had done a film adaptation process whose material was dissected through an excel table, illustrating more clearly the form of his film based on Miriam de la Croix’s letter.\u00a0<\/span><\/p>\n

Ali Satri Efendi relates his experience in the Milisifilem class, especially about Western art history. He was reminded of the Situationist International, where artists walk to a place without purpose and direction, similar to Minke who at that time was visiting a sugar cane plantation for the first time, as well as the visual captures in <\/span>Peta Gula<\/span><\/i>.\u00a0 In <\/span>Kulihat Kau Lihat Dia<\/span><\/i>, a film that only uses photography, Helmi Yusron replied that in Tetralogy, Minke was always fascinated by technological advances such as bicycles, steam trains, and especially photography. He decided to use only photos to get closer and more accurate in representing Minke and his era.\u00a0<\/span><\/p>\n

Ali Aladawy<\/b> then asked if this construction process made it difficult or inspiring for them to adapt literary works. Van Luber Parensen gave “yes” and “no” as his answer, “yes” it was difficult because the process of selection and construction of so much material was challenging and fun. Ali Satri Efendi responded that the adaptation material from four books, each of which is approximately 500 pages, certainly provides a lot of information. Helmi Yusron said that it all depends on the sharpness of analyzing the quote, the sharper the analysis used, the more inspiration will emerge later. This discussion closed the series of film screenings at ARKIPEL <\/span>Noli Me Tangere – 10th Jakarta International Documentary and Experimental Film Festival<\/span><\/i> in 2023.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”12280,12281,12282,12283,12284,12285″ img_size=”full”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Milisifilem Collective: Proyek Minke \u2013 Reiterasi Tetralogi Buru, Impresi bukan Narasi” css=”.vc_custom_1696669360338{margin-bottom: 0px !important;}”]Hari terakhir ARKIPEL Noli Me Tangere \u2013 10th Jakarta International Documentary and Experimental Film Festival, dimulai dengan persembahan dari Milisifilem Collective generasi keenam, Edelweiss. Otty Widasari selaku kurator membuka pemutaran dengan mengenalkan Milisifilem Collective dan Proyek Minke. Proyek […]<\/p>\n","protected":false},"author":171,"featured_media":12285,"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":"\nMilisifilem Collective: The Minke Project - Reiteration of the Buru Tetralogy, Impression not Narrative — 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\/sp-minke-project-noli-me-tangere\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Milisifilem Collective: The Minke Project - Reiteration of the Buru Tetralogy, Impression not Narrative — 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=”Milisifilem Collective: Proyek Minke \u2013 Reiterasi Tetralogi Buru, Impresi bukan Narasi” css=”.vc_custom_1696669360338{margin-bottom: 0px !important;}”]Hari terakhir ARKIPEL Noli Me Tangere \u2013 10th Jakarta International Documentary and Experimental Film Festival, dimulai dengan persembahan dari Milisifilem Collective generasi keenam, Edelweiss. 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Dia merupakan bagian dari Edelweiss, generasi keenam Milisifilem Collective. Dia aktif menyublim minatnya lewat tulisan, seni visual, dan bentuk penceritaan lainnya. Kegiatan favoritnya menonton film, membaca buku, tidur siang, bermain-main sulap, dan merekonstruksi ulang bunga tidurnya.   -- Rahmat Gunawan studies psychology and has obsessive interest on low-valence negative emotions and human dysfunctionalities. He is part of Edelweiss, 6th generation participant of Milisifilem Collective. He is actively engaging on sublimating his obsessive interest through writing, visual art, and other forms of storytelling. 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