{"id":12688,"date":"2024-08-30T17:24:43","date_gmt":"2024-08-30T10:24:43","guid":{"rendered":"https:\/\/arkipel.org\/?p=12688"},"modified":"2024-08-30T17:24:43","modified_gmt":"2024-08-30T10:24:43","slug":"2024ic10","status":"publish","type":"post","link":"https:\/\/arkipel.org\/2024ic10\/","title":{"rendered":"International Competition 10"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1724349344669{margin-bottom: 0px !important;}”]\n

Teknologi Perubahan Periferal
\n<\/b>Peripheral Alteration Technology<\/b><\/em><\/h1>\n

<\/h1>\n

Host: Wahyu Budiman Dasta
\n<\/strong><\/p>\n

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

Thursday, August 29, 2024 | 16:00 | 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_1724349391839{margin-bottom: 0px !important;}”]Motor penggerak mesin yang dihidupkan membawa manusia bergerak dari titik awal menuju titik lain dan kemudian kembali ke asal, menciptakan sebuah siklus perjalanan yang berulang. Dalam proses ini, mesin tidak hanya sekadar alat transportasi, tetapi menjadi bagian integral dari tubuh manusia, menyatu dan saling berinteraksi dalam setiap langkah perjalanannya. Penyatuan tubuh manusia dengan mesin menciptakan sebuah pengalaman yang mengaburkan batas antara organik dan mekanis, di mana manusia menjadi bagian dari mesin, dan mesin menjadi perpanjangan dari tubuh manusia.<\/p>\n

Hubungan yang terjalin antara tubuh manusia dan mesin sebagai motor penggerak ini menciptakan konektivitas baru yang memfasilitasi pembentukan jalur-jalur baru. Konektivitas ini secara signifikan mengubah cara kita memahami dan berinteraksi dengan ruang geografis di sekitar kita. Setiap gerakan yang difasilitasi oleh mesin tidak hanya menghubungkan dua titik secara fisik, tetapi juga memengaruhi persepsi kita terhadap jarak dan waktu.<\/p>\n

Kamera, yang juga sebuah mesin, membingkai jalur-jalur baru yang terbentuk melalui interaksi ini, yang mampu meredefinisi ruang geografis secara signifikan. Dalam proses ini, kamera membingkai pola-pola mobilitas arus baru untuk membentuk pertumbuhan dan perkembangan di wilayah-wilayah yang dilaluinya. Salah satu pola yang terbentuk adalah pembangunan ekonomi yang didasarkan dari metode alternatif warga, yang ditentukan oleh batas-batas lokasi yang telah disepakati oleh komunitas setempat.<\/p>\n

Pembahasan mengenai ekonomi biasanya berfokus di pusat-pusat kekuasaan dan pembangunan yang berlokasi di perkotaan atau pusat ekonomi. Namun, mata sutradara yang merekam dari sudut pandang periferal atau tepian, bisa mewakili mata warga yang berfungsi sebagai alat pembangunan sistem ekonomi dari wilayah tepian. Sebagaimana jalur-jalur yang dibuat oleh masyarakat, kamera pun menciptakan jejak jalur yang membantu masyarakat untuk memperkuat potensi tersembunyi di pinggiran, sehingga dapat menyeimbangkan kekuatan ekonomi dan sosial.<\/p>\n

Filem-filem dalam program ini memperlihatkan pendekatan dari tiga sutradara terhadap narasi pembangunan wilayah dari sudut pandang periferal. Perspektif masing-masing sutradara menawarkan pandangan bahwa kesejahteraan ekonomi suatu negara atau wilayah, melalui gambar-gambar yang mereka rekam, dibentuk dari gambaran keseluruhan pertumbuhan ekonomi yang lebih inklusif dan berkelanjutan.<\/p>\n

Filem Elegy for a Village<\/i> (2024) karya Weiping Huang dari China, menghidupkan cerita tentang identitas keluarga inti sang sutradara dengan pendekatan reflektif. Filem ini menggunakan gambar bergerak yang dijadikan still image<\/i> untuk menggambarkan kehidupan sehari-hari melalui mata sutradara. Filem ini membuka lapisan-lapisan kehidupan keluarga yang erat kaitannya dengan tradisi dan nilai-nilai ekonomi yang diwariskan dari generasi ke generasi, serta bagaimana mereka mempertahankan identitas agar tetap menghormati akar tradisional yang menjadi fondasi nilai sosial negaranya.<\/p>\n

Dalam filem The Hook You Will Not Bite<\/i> (2021) karya Jos\u00e9 David Apel dari Argentina, sutradara merekam dinamika ekonomi yang berputar di luar pusat kekuasaan, membingkai interaksi transaksional antara pelaku-pelaku di lapangan. Transaksi ini menjadi representasi dari dinamika ekonomi mikro yang lebih luas, di mana setiap interaksi merupakan bagian dari jaringan kompleks yang membentuk ekonomi periferal. Dalam filem ini, kamera merekam aktivitas nakhoda sebagai tengkulak, untuk menggambarkan aktivitas ekonomi secara umum dengan para nelayan.<\/p>\n

Filem Motorodillo <\/i>(2022) karya Alba Jaramillo dari Kolombia, membingkai proses pengambilalihan jalur sebagai bentuk perlawanan terhadap struktur kekuasaan sebelumnya. Warga berusaha meretas dan merevolusi tatanan yang ada. Setiap gerakan mesin yang direkam mencerminkan usaha kolektif untuk menciptakan nilai ekonomi baru yang mendukung keberlangsungan hidup masyarakat setempat, untuk mengklaim kembali kendali atas kehidupan mereka. Dengan membentuk kekuatan komunitas dan menginovasikan teknologi sederhana, warga berupaya membentuk sistem alternatif dari ekonomi dan sosial yang lebih besar.<\/p>\n

Melalui sinema, para sutradara membingkai proses-proses perubahan sosial, ekonomi, dan budaya yang terjadi di wilayah-wilayah yang sering kali berada di luar sistem negaranya. Dalam karya-karya mereka, mesin dan teknologi sederhana menjadi objek perubahan dan perlawanan untuk membuka jalur sirkulasi dari titik satu ke titik lainnya. Dengan demikian, sinema menjadi sebuah mesin kritis yang menyoroti bagaimana perubahan-perubahan kecil dengan menawarkan perspektif baru yang lebih inklusif terhadap dinamika ekonomi, sosial, dan budaya di lokasi tinggalnya.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1724349415476{margin-bottom: 0px !important;}”]The engine’s motor propels people from one point to another and then returns to the first point, creating a repetitive cycle of travel. In this process, the machine is not just a means of transportation, but becomes an integral part of the human body, merging and interacting with each step of the journey. The unification of the human body with the machine creates an experience that blurs the line between the organic and the mechanical, where the human becomes part of the machine, and the machine becomes an extension of the human body.<\/p>\n

This relationship between the human body and the machine as a driving force creates new connectivity that facilitates the formation of new pathways. This connectivity significantly changes the way we understand and interact with the geographical space around us. Every movement facilitated by the machine not only physically connects two points, but also affects our perception of distance and time.<\/p>\n

The camera, also a machine, frames the new pathways formed through these interactions, which can significantly redefine geographical space. In this process, the camera frames patterns of new flows of mobility to shape growth and development in the areas it passes through. One such pattern is economic development based on the citizens\u2019 alternative methods, defined by the boundaries of locations agreed upon by the local community.<\/p>\n

Discourses about the economy usually focus on centers of power and development located in cities or economic centers. However, a director’s eye recording from a peripheral perspective represents the eyes of citizens who function as a tool for building an economic system from the periphery. As the paths are made by the community, the camera creates a trail that helps the community to strengthen the hidden potential of the periphery, thus balancing economic and social power.<\/p>\n

The films in this program show three directors’ approaches to the narrative of regional development from a peripheral perspective. Each director’s perspective offers the insight that the economic well-being of a country or region, through the images they recorded, is shaped by an overall vision of more inclusive and sustainable economic growth.<\/p>\n

Elegy for a Village<\/i> (2024) by Weiping Huang from China, brings to life the story of the director’s nuclear family identity with a reflective approach. The film uses moving images made into still images to depict everyday life through the eyes of the director. The film opens layers of family life that are closely related to traditions and economic values passed down from generation to generation, and how they maintain their identity in order to honor the traditional roots that are the foundation of their country’s social values.<\/p>\n

In Jos\u00e9 David Apel’s The Hook You Will Not Bite<\/i> (2021) from Argentina, the director captures the economic dynamics that revolve outside the center of power, framing the transactional interactions between actors on the ground. These transactions become representations of a broader microeconomic dynamic, where each interaction is part of a complex network that makes up the peripheral economy. In this film, the camera records the boat captain’s activities as a middleman, to illustrate the general economic activities with the fishermen.<\/p>\n

Colombian Alba Jaramillo’s film Motorodillo<\/i> (2022) frames the process of taking over a path as a form of resistance to the previous power structure. Citizens attempt to hack and revolutionize the existing order. Each recorded movement of the machines reflects a collective effort to create new economic value that supports the livelihood of local communities, to reclaim control over their lives. By forming community forces and innovating simple technologies, citizens are attempting to shape an alternative system of the larger economy and society.<\/p>\n

Through cinema, the directors frame the processes of social, economic, and cultural change that occur in areas that are often located beyond the country’s system. In their works, ordinary machines and technologies become objects of change and resistance to open circulation paths from one point to another. By doing so, cinema becomes a critical machine that highlights small transformations by offering a new, more inclusive perspective on the economic, social, and cultural dynamics of the places where they live.[\/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=”1724227280858-e56cb026-59b7″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12358″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724349585425{margin-bottom: 0px !important;}”]\n

Elegy for a Village<\/b><\/h2>\n

Filmmaker\u00a0<\/em>Weipeng Huang<\/strong> (China)
\nInternational Title<\/em> Elegy for a village<\/strong>
\nCountry of Production<\/em>\u00a0 China
\n<\/strong>Language<\/em> Chinese
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

14 min, Stereo, Digital, 16:9, Black & White, 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_1724349706164{margin-bottom: 0px !important;}”]Filem ini menggali secara mendalam identitas keluarga inti sang sutradara melalui pendekatan reflektif. Filem ini menggunakan gambar bergerak yang kemudian diubah menjadi gambar diam untuk menggambarkan kehidupan sehari-hari dari perspektif sang sutradara. Secara bertahap, filem ini membuka lapisan-lapisan kehidupan keluarga yang erat kaitannya dengan tradisi dan nilai-nilai ekonomi yang diwariskan dari generasi ke generasi, serta menggambarkan upaya mereka dalam menjaga identitas sambil tetap menghormati akar tradisional yang menjadi fondasi nilai-nilai sosial mereka.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724349719917{margin-bottom: 0px !important;}”]This film deeply explores the identity of the director’s immediate family through a reflective approach. The film employs moving images that are then transformed into still images to depict daily life from the director\u2019s perspective. It gradually reveals the layers of family life closely tied to traditions and economic values passed down through generations, illustrating their efforts to maintain their identity while honoring the traditional roots that form the foundation of their social values.<\/p>\n

\u00a0<\/span>[\/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=”12685″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724349654694{margin-bottom: 0px !important;}”]Dia adalah seorang pengajar profesional media digital di universitas dan tertarik pada animasi eksperimental dan penelitian filem. Karya-karyanya telah memenangkan penghargaan Golden Monkey dari China International Animation Festival, penghargaan film pendek eksperimental terbaik dari Salto Independent Film Festival, penghargaan film pendek artistik terbaik dari Iran Imofis International Film Festival. Dia terpilih dalam lebih dari 20 pameran film internasional, termasuk Montekatini International Short Film Festival, Kassel Dokfest, Athens International Film and Video Festival.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724349687584{margin-bottom: 0px !important;}”]He is a professional teacher of digital media in the university and is keen on experimental animation and film research. His works have won the Golden Monkey award of China International Animation Festival, the best experimental short film award of Salto Independent Film Festival, the best artistic short film award of Iran Imofis International Film Festival. He was shortlisted in more than 20 international film exhibitions, including Montekatini International Short Film Festival, Kassel Dokfest, Athens International Film and Video Festival.[\/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=”1724346664184-74b83a4c-ab0c”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12349″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724348800392{margin-bottom: 0px !important;}”]\n

Dohvatiti sunce: El Shatt \/ Chasing the Sun: El Shatt<\/h2>\n

Filmmaker\u00a0<\/em>Ana Bilankov<\/strong> (Berlin\/Zagreb)
\nInternational Title<\/em> Dohvatiti sunce: El Shatt \/ Chasing the Sun: El Shatt
\n<\/strong>Country of Production<\/em>\u00a0 Croatia, Egypt
\n<\/strong>Language<\/em> Croatian, English<\/strong>
\nSubtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

20 min, Stereo, Digital, 16:9, 2K, 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_1724349115143{margin-bottom: 0px !important;}”]Filem ini menceritakan tentang masyarakat Yugoslavia yang mengungsi ke Mesir karena negaranya diduduki oleh tentara Jerman. Filem ini menampilkan hidup para pengungsi Yugoslavia dengan visual lanskap terkini Mesir yang disandingkan dengan arsip tahun 1940-an.<\/p>\n

\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724349077568{margin-bottom: 0px !important;}”]It tells the story of the Yugoslav people who fled to Egypt because their country was occupied by the German army. The film shows the lives of Yugoslav refugees with visuals of Egypt’s current landscape juxtaposed with archives of them from the 1940s.<\/i><\/p>\n

\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724346664803-3e5e3c2a-775b”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12680″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724348895014{margin-bottom: 0px !important;}”]Ana Bilankov<\/strong><\/em> (Berlin\/Zagreb) adalah seorang seniman visual dan sineas yang bekerja di media filem eksperimental\/dokumenter, fotografi, dan instalasi video. Ia belajar Sejarah Seni dan Bahasa dan Sastra Jerman di Universitas Zagreb dan Mainz dan menyelesaikan studi pascasarjana ” Art in Context” di Universitas Seni di Berlin. Ia telah menampilkan karyanya di berbagai pameran, memenangkan berbagai beasiswa internasional dan berpartisipasi dalam festival filem dan video seperti International Shortfilm Festival Oberhausen, FeKK Short Film Festival Ljubljana, BIEFF Bucharest, 25 FPS Zagreb, Kassel DocFest, Glasgow Short Film Festival, Achtung Berlin, Crossing the Screen, Inggris, Ismailia International Film Festival for Documentary and Shorts Mesir, di mana ia memenangkan beberapa penghargaan.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724348917235{margin-bottom: 0px !important;}”]Ana Bilankov<\/strong><\/em> (Berlin\/Zagreb) is visual artist and filmmaker working in the media of experimental\/documentary film, photography and video installation. She studied Art History and German Language and Literature at the Universities of Zagreb and Mainz and completed postgraduate studies \u201cArt in Context\u201c at the University of the Arts in Berlin. She has shown her work in many exhibitions, won numerous international scholarships and participated in film and video festivals like International Shortfilm Festival Oberhausen, FeKK Short Film Festival Ljubljana, BIEFF Bucharest, 25 FPS Zagreb, Kassel DocFest, Glasgow Short Film Festival, Achtung Berlin, Crossing the Screen, UK, Ismailia International Film Festival for Documentary and Shorts Egypt, where she has won several awards.[\/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=”1724349769989-ba210a8b-3422″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12369″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724349937804{margin-bottom: 0px !important;}”]\n

Motorrodillo<\/h2>\n

Filmmaker\u00a0<\/em>Alba Jaramillo<\/strong> (Medell\u00edn, New York)
\nInternational Title<\/em> Motorrodillo
\n<\/strong>Country of Production<\/em>\u00a0 Colombia
\n<\/strong>Language<\/em> Spanish<\/strong>
\nSubtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

30 min, Stereo, Digital, 16:9, Color, 2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724349115143{margin-bottom: 0px !important;}”]Filem ini menceritakan tentang masyarakat Yugoslavia yang mengungsi ke Mesir karena negaranya diduduki oleh tentara Jerman. Filem ini menampilkan hidup para pengungsi Yugoslavia dengan visual lanskap terkini Mesir yang disandingkan dengan arsip tahun 1940-an.<\/p>\n

\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724349077568{margin-bottom: 0px !important;}”]It tells the story of the Yugoslav people who fled to Egypt because their country was occupied by the German army. The film shows the lives of Yugoslav refugees with visuals of Egypt’s current landscape juxtaposed with archives of them from the 1940s.<\/i><\/p>\n

\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724349770669-d12eb3a0-63a7″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12686″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724350011780{margin-bottom: 0px !important;}”]Alba Jaramillo<\/strong><\/em> adalah seorang sineas yang tinggal di Medell\u00edn, New York dan Paris. Saat menyelesaikan gelar MFA di bidang Produksi Seni Media di State University of New York – Buffalo, ia mengajar mata kuliah teori film dan studi imigrasi.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724350030312{margin-bottom: 0px !important;}”]Alba Jaramillo<\/strong><\/em> is a filmmaker based between Medell\u00edn, New York and Paris. While completing her MFA in Media Arts Production at the State University of New York \u2013 Buffalo, she taught courses in film theory and immigration studies.[\/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=”12666″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1725013434266{margin-bottom: 0px !important;}”]Wahyu Budiman Dasta<\/b>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1725013448002{margin-bottom: 0px !important;}”]Wahyu Budiman Dasta<\/b><\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

A subtle disruption to the system arises from the daily lives of people on the “periphery”, as reflected in two curated films here. Even though they do not fully agitate the dominating authorities, the “divergent model” of work, and the behaviour or response that belong to the marginalised people (outside the system) keep alive the criticism of social and economic determinants. 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