{"id":12541,"date":"2024-08-25T19:52:01","date_gmt":"2024-08-25T12:52:01","guid":{"rendered":"https:\/\/arkipel.org\/?p=12541"},"modified":"2024-08-25T19:53:42","modified_gmt":"2024-08-25T12:53:42","slug":"2024ic2","status":"publish","type":"post","link":"https:\/\/arkipel.org\/2024ic2\/","title":{"rendered":"International Competition 2"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1724590214826{margin-bottom: 0px !important;}”]\n

Sketsa Substansi
\n<\/b>A Map Of Matter<\/b><\/em><\/h1>\n

<\/h1>\n

Host: Valencia Winata<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

Wednesday, August 28, 2024 | 13:00 | Bioskopforlen<\/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_1724227081475{margin-bottom: 0px !important;}”]Alam semesta itu adalah sebuah misteri. Ia membuat kita berpikir, bercerita dan berteori. Kuratorial kali ini, Sketsa Substansi <\/i>mengajak Anda untuk menyelami upaya sinematik dalam merepresentasikan, menginterpretasikan, dan mengonseptualisasikan alam semesta. Kata \u201csubstansi\u201d memang mempunyai makna yang luas, terlalu luas mungkin. Namun, substansi merupakan elemen penting dalam program ini; fisik atau non-fisik, substansi dikarakterisasikan, dimitoskan, diselidiki, dimaterialisasikan, dan dispekulasikan. Variasi corak substansi ini dijelajahi oleh kelima filem dalam program ini dengan gayanya tersendiri, dengan berurutan corak ini mengalir dan bermain-main dengan indera kita. Indera, dalam program kuratorial ini dan program festival tahun ini, menjadi alat intuitif dalam merayakan kehidupan, tetapi ia juga menjadi alat supaya kita awas terhadap kehidupan.<\/p>\n

 <\/p>\n

Filem pembuka, Aix\u00f2 Tamb\u00e9 Passar\u00e0 <\/i>(I\u00f1aki Antu\u00f1ano San Luis & Pepe \u00c1balos Galcer\u00e1, 2023), mendokumentasikan Fallas de Valencia, <\/i>sebuah perayaan tahunan di kota Valencia, Spanyol, di mana patung-patung dibuat, dipamerkan, kemudian dibakar. Filem ini berbicara tentang substansi fisik sebagai elemen tetap dalam kehidupan, tetapi substansi tersebut hancur pada akhirnya. Sebuah akhir yang tidak terelakkan. Dan ritual ini diulang setiap tahun. Apa yang tersisa dari kekekalan adalah hukum ketidakkekalan dari sesuatu itu sendiri. Jika Aix\u00f2 Tamb\u00e9 Passar\u00e0 <\/i>menggaungkan narasi besar manusia tentang roda kehidupan, The Seagull <\/i>(David Lu\u0161i\u010di\u0107, 2024) beralih kepada narasi yang lebih kecil yang dapat kita raba dan ukur. The Seagull <\/i>atau Galeb <\/i>dalam bahasa Serbo-Kroasia adalah nama kapal yang sebelumnya digunakan sebagai kapal perang. Di tangan Josip Broz Tito, Presiden Republik Federal Sosialis Yugoslavia, Galeb<\/i> di tahun 1950-an diubah menjadi kapal pesiar untuk mengampanyekan diplomasi antara Blok Timur dan Blok Barat. Voice-over <\/i>seorang kru kapal yang mengenang kegiatan di kapal saat beroperasi di era Tito, dan bentuk visual arsitektur kapal yang matematis; elemen audio dan visual ini menggambarkan kapal sebagai artefak yang tercipta dan terbentuk oleh fenomena politik. Dalam filem ini, Galeb <\/i>menjadi mitos, Tito menjadi mitos, begitu pula dengan sejarah. Apa yang berlalu dikristalisasikan di masa kini. Beranjak dari filem-filem sebelumnya yang berperspektif manusia, Dust is a Whale, is Sunlight <\/i>(Mar\u00eda Casas Castillo, 2023), berpaling kepada sains alam untuk menyelidiki proses kehidupan. Ia mengikuti seorang ahli paleontologi yang mengumpulkan fosil paus, dan melalui fosil ini, ia bercerita dan berteori tentang interaksi antara benda hidup dan tak hidup yang membentuk arus gerak alam. Sains menjadi alat untuk mengukur dan menjelaskan peta alam semesta, tetapi sains juga memiliki kemampuan yang terbatas untuk merealisasikan peta tersebut. Justru, filem ini menggunakan sains sebagai ruang untuk berspekulasi tentang logika baru untuk mengerti alam\u2013bahwa kehidupan, selain dimaterialisasikan, juga diteorisasikan secara ilmiah.<\/p>\n

Selanjutnya, When the Crows Walk Home <\/i>(Rosa Prosser, 2023) meneliti alam dengan pendekatan yang cukup berbeda. Ia mensketsa lanskap di daerah Cumbria, Inggris. Ia setengah menciptakan, setengah membayangkan wujud dan rasa angin, yang dinamakan di daerah tersebut sebagai Helm Wind<\/i>. Embusan angin dirasakan lewat gerakan kamera, suara serangannya berdengung lewat pengeras suara, ditambah dengan anekdot penduduk; varian audio dan visual ini menciptakan kehadiran yang betul-betul terasa lewat penginderaan. Indera\u2013diperpanjang oleh tubuh si pembuat filem dan kameranya\u2013mengalami dan memersepsikan substansi serta nilainya. Filem terakhir, Ocean Mud Pickle <\/i>(Paribartana Mohanty, 2024), memungkasi program ini, di mana rasa ketakjuban, keingintahuan, dan kewaspadaan terhadap alam semesta dirangkum dalam cerita tentang Satabhaya, sebuah kampung pesisir di India yang hampir punah. Penduduk Satabhaya terpaksa pindah dari kampungnya karena erosi, tetapi makhluk hidup lain justru berhasil hidup di sana karena sedimen yang terbentuk akibat erosi. Melalui lantunan lagu rakyat, filem ini berdongeng tentang sebuah tempat yang terpeta, akan tetapi takdirnya tak diketahui. Ketidaktahuan berbicara tanpa bahasa. Pasang surut alam semesta, ia utuh, bersatu dan melampaui kuasa manusia. Manusia, sebaliknya, bercerita dan berimajinasi.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1724227097949{margin-bottom: 0px !important;}”]Nature fascinates us. It drives us to think, make stories and theories. Through this curatorial, A Map of Matter<\/i>, we would like to invite the audience to delve into some of the cinematic attempts at representing, interpreting, and conceptualising the nature of the universe. Here, the word \u201cmatter\u201d is a broad yet important element that encompasses the five films presented in this programme. How matter\u2013in its physical and non-physical senses\u2013is characterised, mythicised, investigated, materialised, and speculated. This will be explored through each film in its own style; the sequence of this curatorial itself becomes a particular flow that illustrates the interplay of substances and engages our senses. Senses, in this programme and this year\u2019s festival, become a cautionary celebration of the politics of life.<\/p>\n

 <\/p>\n

The first film, Aix\u00f2 Tamb\u00e9 Passar\u00e0 <\/i>(I\u00f1aki Antu\u00f1ano San Luis & Pepe \u00c1balos Galcer\u00e1, 2023), chronicles Fallas de Valencia, <\/i>an annual celebration in which man-made monuments are burnt in Valencia, Spain. The film speaks wholly about material form as one of the characteristics of life, but this very form is burnt, destroyed in the end. An inevitable end that is repeated each year, and the next. What\u2019s left of a permanence is then the underlying sense of the impermanence of it. If Aix\u00f2 Tamb\u00e9 Passar\u00e0 <\/i>is all about human\u2019s grand narrative of the cycle of life, The Seagull <\/i>(David Lu\u0161i\u010di\u0107, 2024) shifts this grand narrative to a minuscule one\u2013making it measurable. The Seagull <\/i>or Galeb <\/i>in Serbo-Croatian is the name of a former warship turned into a training ship by the late President of the Yugoslav Republic, Josip Broz Tito, to promote peace and diplomacy between the Eastern and Western blocs in the 1950s. Through the use of nostalgic voice-over testimony from a crew recalling the ship’s activities during Tito\u2019s time, and the use of mathematical lines that visually forms the architecture of the ship, the ship becomes an artefact that is created and influenced by a political phenomenon. The ship is a myth, so is Tito, so is the history. The past is crystallised in the present. Departing from the human perspective, the third film, Dust is a Whale, is Sunlight <\/i>(Mar\u00eda Casas Castillo, 2023), turns to natural science to investigate the process of life. The film follows a marine palaeontologist who collects the fossils of whales, and through these fossils, he tells and theorises the process of interactions between living and non-living components, forming a flowing cycle of natural systems. Here, science is used to measure and describe the picture of the universe, but the film realises that there is a limitation in the capability of science to do so. Instead, the film uses natural science as a room to speculate on a new kind of logic to solve the puzzle that is nature\u2013that life is materialised through and theorised using science.<\/p>\n

The fourth film, When the Crows Walk Home <\/i>(Rosa Prosser, 2023), approaches nature rather differently. It is a sketch of the landscape in Cumbria, England, that partly recreates and imagines what and how wind\u2013named the Helm Wind\u2013looks and feels like. The breath of nature that is felt through the movement of the camera, the erratic sound of the wind shivering through the speakers, plus the anecdotes from the locals; all these audio and visual elements become a visceral presence that engages our senses. How senses then experience and perceive\u2013through the filmmaker\u2019s and the camera\u2019s body\u2013matter and its materiality. The last film, Ocean Mud Pickle <\/i>(Paribartana Mohanty, 2024), ties up this programme, in which the fascination, curiosity, and cautious approach toward nature comes in the form of a tale of Satabhaya, a sea village in India that is on the brink of extinction. The people of Satabhaya have long been displaced due to sea erosion, yet other living creatures prosper due to the sediments formed in the area. Accompanied by folk songs, the film tells the story of a place found on the map but its fate is unknown. This unknown speaks without language. Nature fluctuates, unites and transcends beyond our reach. We, humans, speculate and make stories.[\/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=”12346″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724227935928{margin-bottom: 0px !important;}”]\n

Aix\u00f2 Tamb\u00e9 Passar\u00e0<\/h2>\n

Filmmaker\u00a0<\/em>I\u00f1aki Antu\u00f1ano San Luis, Pepe \u00c1balos Galcer\u00e1<\/strong> (Spain)
\nInternational Title<\/em> Aix\u00f2 Tambr\u00e9 Passar\u00e0
\n<\/strong>Country of Production<\/em>\u00a0 Spain
\n<\/strong>Language<\/em>\u00a0 Spanish
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

19 min, Stereo, DCP, ProRes, H264, 16:9, HD, Color, 2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724227902311{margin-bottom: 0px !important;}”]Sebuah dokumentasi perayaan tahunan di kota Valencia, Spanyol, yang bernama Fallas, <\/i>di mana patung-patung dibuat, dipamerkan, kemudian dibakar. Ia menggambarkan sebuah akhir yang tak terelakkan bagi substansi fisik\u2013sebuah cerita tentang kekekalan dan ketidakkekalan yang menghantui kehidupan.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724227642749{margin-bottom: 0px !important;}”]A chronicle of the annual celebration known as The Fallas,<\/i> in Valencia, Spain, where statues are built, paraded, and burnt. It represents an inevitable end to their existence in material form\u2013a tale of permanence and impermanence.[\/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=”12543″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724227881136{margin-bottom: 0px !important;}”]Setelah bertahun-tahun bekerja sama dalam proyek periklanan dan klip video serta mengembangkan karier yang dekat dengan format naratif non-fiksi, I\u00f1aki Antu\u00f1ano dan Pepe \u00c1balos mempersembahkan kolaborasi pertama mereka dalam genre dokumenter: Aix\u00f3 tamb\u00e9 passar\u00e0<\/i> (2023). Sebelumnya, I\u00f1aki Antu\u00f1ano telah menyutradarai film dokumenter #Indestructible<\/i> (2018) dan film pendek Primer Domingo de Mayo<\/i> (2008), pemenang Mostra de Val\u00e8ncia dan Cinema Jove dan diputar di festival internasional (Los Angeles, Trieste, Toulouse). Salah satu karya dokumenter terbaru Pepe \u00c1balos adalah film pendek Renaixem <\/i>(2020), yang direkam selama pandemi dan hadir di banyak festival nasional dan internasional.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724227679080{margin-bottom: 0px !important;}”]After years working together on advertising projects and video clips and having developed careers close to the non-fiction narrative format, I\u00f1aki Antu\u00f1ano and Pepe \u00c1balos present their first collaboration in the documentary genre: Aix\u00f3 tamb\u00e9 passar\u00e0<\/i> (2023). Previously, I\u00f1aki Antu\u00f1ano has directed the documentary #Indestructible<\/i> (2018) and the short film Primer Domingo de Mayo<\/i> (2008), winner of the Mostra de Val\u00e8ncia and Cinema Jove and present at international festivals (Los Angeles, Trieste, Toulouse).<\/p>\n

One of the latest documentary works by Pepe \u00c1balos, the short film Renaixem<\/i> (2020), recorded during the pandemic and with a presence at many national and international festivals.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1724227280858-e56cb026-59b7″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12374″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724228170167{margin-bottom: 0px !important;}”]\n

Galleb\/The Seagull<\/b><\/h2>\n

Filmmaker\u00a0<\/em>David Lu\u0161i\u010di\u0107<\/strong> (Croatia)
\nInternational Title<\/em> Galleb\/The Seagull
\n<\/strong>Country of Production<\/em>\u00a0 Croatia
\n<\/strong>Language<\/em>\u00a0 Croatian
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

29 min, Stereo, Digital, 16:9, Black & White and Color, 2024[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724228182298{margin-bottom: 0px !important;}”]Sebuah kapal yang sebelumnya digunakan sebagai kapal perang diubah menjadi kapal pesiar untuk mengkampanyekan diplomasi antara Blok Timur dan Blok Barat di tahun 1950-an. Diceritakan lewat tangkapan kamera yang matematis yang dipadu dengan ingatan kru tentang kegiatannya selama di kapal, The Seagull <\/i>menjadi sebuah artefak dengan mitos yang melampaui dirinya sendiri.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724228197382{margin-bottom: 0px !important;}”]A former warship was converted into a training ship that promoted diplomacy between the Eastern and Western blocs in the 1950s. The mathematical architecture of the ship, the recollection of the ship\u2019s operation; The Seagull<\/i> becomes a myth that is larger than life.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724227281416-fbff1039-bfbc”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12544″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724228334840{margin-bottom: 0px !important;}”]David Lusicic<\/strong><\/em> lahir pada 1976 di Rijeka, Kroasia. Ia bekerja sebagai pembuat film independen, dosen dan manajer proyek budaya interdisipliner. Ia memiliki gelar MA dalam bidang penyutradaraan TV dan Film dari Academy of Dramatic Art di Zagreb, gelar master dalam bidang Scenography dari Central Saint Martins College of Arts and Design di London, dan gelar MA dalam bidang Arsitektur dari Fakultas Arsitektur di Ljubljana.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724228352263{margin-bottom: 0px !important;}”]David Lusicic<\/strong><\/em> was born in 1976 in Rijeka, Croatia. He works as an independent filmmaker, lecturer and interdisciplinary culture project manager. He holds an MA in TV and Film directing from the Academy of Dramatic Art in Zagreb, a master\u2019s degree in Scenography from Central Saint Martins College of Arts and Design in London, and an MA in Architecture from the Faculty of Architecture in Ljubljana.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1724228373653-835b91d2-3431″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12355″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724228511618{margin-bottom: 0px !important;}”]\n

Dust is a Whale, is Sunlight<\/b><\/h2>\n

Filmmaker\u00a0<\/em>Mar\u00eda Casas Castillo<\/strong> (Croatia)
\nInternational Title<\/em> Dust is a whale, is sunlight<\/strong>
\nCountry of Production<\/em>\u00a0 Belgium, Portugal, Hungary
\n<\/strong>Language<\/em>\u00a0 English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

21 min, Stereo, DCP, ProRes, 1.85:1, HD, Color, 2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724228526287{margin-bottom: 0px !important;}”]Sebuah teori siklus proses alam semesta dengan mengamati fosil paus. Alurnya begini, cahaya matahari, fitoplankton, udang, dan paus; paus memakan udang, udang memakan fitoplankton, fitoplankton memakan cahaya matahari. Sains menjadi alat untuk mengukur dan menjelaskan, tetapi ia juga dapat digunakan untuk berimajinasi dan berspekulasi tentang alam semesta.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724228537817{margin-bottom: 0px !important;}”]An investigation into the life cycle process through whale fossils, which goes like this: sunlight, phytoplankton, krill, whales; whales eat krills, which eat phytoplanktons, which eat sunlight. Science is used to measure and describe, but it can also be used to imagine and speculate about nature.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724228374273-86359026-9f36″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12545″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724228625971{margin-bottom: 0px !important;}”]Mar\u00eda<\/strong><\/em> adalah seorang sineas dan seniman visual asal Meksiko. Dia lulus dari Docnomads Joint Masters dan Universitas Manchester. Ketertarikannya pada alam membawanya untuk menyutradarai film pendek pertamanya “como Ver A Noite” pada tahun 2022 (Sheffield Docfest), dan “The Whales I Don’t See But Are Out There” pada tahun 2023 ( International Documentary and Short Film Festival of Kerala). Saat ini ia tinggal di Brussel, di mana ia membuat film sebagai alasan untuk mencari dunia tersembunyi dan makhluk-makhluk yang menghuninya, yang membantunya untuk memahami kehidupan dan mimpi.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724228608888{margin-bottom: 0px !important;}”]Mar\u00eda<\/strong><\/em> is a Mexican filmmaker and visual artist. People say that she\u2019s a \u2018closet biologist\u2019 because she loves science and grew up around biologists, even though she studied art. She graduated from the Docnomads Joint Masters and The University of Manchester. This fascination for nature took her to direct her first short film \u201ccomo Ver A Noite\u201d in 2022 (Sheffield Docfest), and \u201cThe Whales I Don\u00b4t See But Are Out There\u201d in 2023 (International Documentary and Short Film Festival of Kerala). She currently lives in Brussels where she makes films as an excuse to look for hidden worlds and the creatures who inhabit them, helping her to understand life and dreams.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1724228659832-709307b0-df76″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724228916621{margin-bottom: 0px !important;}”]\n

When the Crows Walk Home<\/b><\/h2>\n

Filmmaker\u00a0<\/em>Rosa Prosser<\/strong> (United Kingdom)
\nInternational Title<\/em> When the Crows Walk Home<\/b>
\nCountry of Production<\/em>\u00a0 United Kingdom
\n<\/strong>Language<\/em>\u00a0 English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

14 min, 5.1, Digital \/ 2K DCP, 16:9, Color, 2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724228943511{margin-bottom: 0px !important;}”]Helm Wind <\/i>adalah namanya; angin kencang yang berhembus di bukit di Cumbria, Inggris. Melalui indera kamera dan tubuh kita, filem ini menangkap, menciptakan, dan membayangkan wujud dan rasa angin tersebut.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724228956121{margin-bottom: 0px !important;}”]The Helm Wind is its name; the strong wind that sweeps through the landscape of Cumbria, England. What and how the wind as a material feels is captured, recreated, and imagined through senses of the camera and our bodies.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724228660536-ec600145-5933″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12547″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724229507184{margin-bottom: 0px !important;}”]Rosa Prosser<\/strong><\/em> adalah seorang pembuat film dari Lake District, Inggris. Praktiknya berusaha mengeksplorasi intra-aksi manusia\/lebih dari manusia melalui metodologi “sensori etnografi ekologi”, sebuah pendekatan yang spesifik pada lokasi dan bersifat indrawi yang dikomunikasikan melalui medium gambar bergerak. Lulus dari University of Cambridge dengan gelar First Class BA di bidang Sejarah dan Filsafat Ilmu Pengetahuan, saat ini ia sedang menyelesaikan program MFA di bidang Creative Documentary by Practice di University College London.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724229491420{margin-bottom: 0px !important;}”]Rosa Prosser<\/strong><\/em> is an artist filmmaker from the Lake District, UK. Her practice seeks to explore human\/more-than-human intra-actions through the methodology of \u201csensory ecological ethnography\u201d, a site-specific and embodied approach communicated predominantly through the medium of moving image. Having graduated from the University of Cambridge with a First Class BA in the History and Philosophy of Science, she is currently finishing an MFA in Creative Documentary by Practice at University College London.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1724229522551-af6763ca-d243″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724229627331{margin-bottom: 0px !important;}”]\n

\u0b38\u0b2e\u0b41\u0b26\u0b4d\u0b30 \u0b2a\u0b19\u0b4d\u0b15 \u0b06\u0b1a\u0b3e\u0b30 \/ Ocean Mud Pickle<\/h2>\n

Filmmaker\u00a0<\/em>Paribartana Mohanty<\/strong> (India)
\nInternational Title<\/em> \u0b38\u0b2e\u0b41\u0b26\u0b4d\u0b30 \u0b2a\u0b19\u0b4d\u0b15 \u0b06\u0b1a\u0b3e\u0b30 \/ Ocean Mud Pickle<\/strong>
\nCountry of Production<\/em>\u00a0 India
\n<\/strong>Language<\/em>\u00a0 Oadia
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

40 min, Stereo, 4K, 16:9, Color, 2024[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724229824616{margin-bottom: 0px !important;}”]Penduduk Satabhaya terpaksa pindah dari kampung pesisir mereka, tetapi makhluk hidup lain bertahan dan bahkan dapat berkembang di sana. Ini adalah sebuah cerita keramat tentang sebuah tempat yang terpeta, akan tetapi takdirnya tak diketahui.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724229835629{margin-bottom: 0px !important;}”]The people of Satabhaya have been displaced, but other living creatures could survive in that former sea village, some prosper even. This is the singing tale of a place found on the map, yet whose fate remains not known.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724229523339-37970e3f-483d”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12548″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724229803538{margin-bottom: 0px !important;}”]Paribartana Mohanty<\/strong><\/em> (lahir 1982, Odisha) adalah seorang seniman multimedia, yang bekerja dengan media baru, video, performans dan lukisan. Karya terbarunya mengeksplorasi lanskap lingkungan-bencana baru yang muncul di dekat pesisir Teluk Benggala di Odisha, mempelajari dampak yang mendalam dari angin topan yang berulang, tsunami dan erosi tanah pada masyarakat marjinal, alam dan budaya. Minat dan penelitian Paribartana adalah meneliti bagaimana teknologi jaringan algoritmik, digitalisasi, penggalian data, akses dan pengawasan membentuk persepsi publik tentang bencana \u201calami\u201d, dan bagaimana kebijakan pemerintah yang baru mengubah lanskap pedesaan di Odisha.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724229787217{margin-bottom: 0px !important;}”]Paribartana Mohanty<\/strong><\/em> (b.1982\/Odisha) is a multimedia artist, working with new media, video, performance lecture and painting. His recent work explores new environment-disaster-landscapes emerging near the coast of Bay of Bengal in Odisha, studies deep impacts of recurring cyclones, tsunamis and land erosion on marginal communities, nature and culture. Paribartana\u2019s interest and research is in examining how technologies of algorithmic networks, digitalization, data mining, access and surveillance are shaping public perception about \u201cnatural\u201d calamity, and how new government policies are changing the rural landscapes in Odisha.\u201d[\/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=”10584″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724590298328{margin-bottom: 0px !important;}”]\n

Valencia Winata adalah seorang sarjana filem yang telah membuat beberapa video pendek. Dia bagian dari tim database yang mengelola koleksi filem dokumenter Indonesia di Forum Film Dokumenter di Yogyakarta. Saat ini ia sedang melanjutkan pendidikannya di bidang Kajian Budaya di Universitas Sanata Dharma. Penelitiannya berfokus pada sejarah, estetika, dan budaya filem.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724590307310{margin-bottom: 0px !important;}”]\n

Valencia Winata is an aspiring film scholar who has made several short videos. She is part of the database team that manages the Indonesian documentary film collection at Forum Film Dokumenter in Yogyakarta. She is currently furthering her education in Cultural Studies at Sanata Dharma University. Her research focuses on film history, aesthetics, and culture.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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